R O N A L D * J A C K S O N
Lynn Riley, Too Cool (nuGroove Records)
Nate Najar, Until Now (Blue Line Music)
Maysa, A Woman In Love (Shanachie)
Pamela Williams, Chameleon (Saxtress Entertainment)
J E F F * D A N I E L S
Jeff Lorber, Heard That (Peak Records) (2008)
Pat Metheny, Water Colors (Polygram Records) (2000)
Pat Metheny and Anna Maria Jopek, Upojenie (Nonesuch) (2008)
Jamhunters, Music Speaks Louder Than Words (2008)
P E T E R * B O E H I
I have been skiing all week, I grabbed one of my 160GB iPods and this is what I stumbled upon on the device. Great music to drive down the slopes...
Fattburger - Come And Get It (1990)
This classic of the genre by San Diego based unit Fattburger stood the test of time extremly well, great solos by Hollis Gentry on sax, Steve Laury on guitar and Carl Evans on keyboards yield superior results. If you have it, give it a spin!
Kombo - The Big Blast! (1999)
Groovy organ sounds with catchy melodies and great solos, the band is led by keyboardist Ron Pedley and guitarist John Pondel. Positive vibes!
Bobby Wells - Bayside (2005)
This is a picture perfect smooth jazz album with some great guests like Eric Marienthal, Bryan Savage, Michael O'Neill, Darren Rahn and others. Thumbs up!
Rob Mullins - 5th Gear (1988)
This album by keyboardist Rob Mullins is an all-time favorite of mine, another classic that still deserves our attention. Groovy baby!
Bobby Lyle - The Genie (1977)
My nod to the past goes to this seminal jazz-funk album by keyboardist Bobby Lyle, his version of "Night Breeze" still blows me away. A raw diamond!
D E N I S * P O O L E
‘Fast Train To Anywhere’ by Chris Standring from the album Blue Bolero. Clever production and superb playing from both Standring on guitar and Debra Porter on violin make this unusual but totally accessible cut a real winner.
The awesome mix of Marvin Gaye’s Ain’t That Peculiar that samples Kool and the Gang’s classic song ‘Summer Madness’. What makes the tune as surprising as it is delightful is the fact it was put together by two guys from the UK, Neil Thompson from Southport and Soul P from Luton. Currently being championed by Jazz FM on-air personalities Robbie Vincent and Steve Quirk, the prospects of the track being made commercially available are understood to be good.
‘In The Works’ by Alan Hewitt which is taken from his Retroactive CD. This up tempo number has a groove to die for and is ‘infectious’ in the extreme.
‘I Didn’t Know’ by Dee Brown from his latest release A Little Elbowroom. Warm and inviting with top notch vocals from D’mitri and Gerard Brooks this is a song that offers a genuine glance back to the smooth R & B of Dee’s previous release.
‘Be Coolin’ by Kathy Sanborn from her forthcoming album Small Galaxy. Much like the entire album this is a track that has a wonderful comforting quality and is sure to do well.
Las Vegas radio station KOAS 105.7 "The Oasis" changed format over the holidays to an "Old School" R & B format. It was no surprise to many since the station had been using an "old school R & B" playlist intertwined with smooth jazz artists for the last few years. This leaves the only bonafide jazz station KUNV 91.5FM as the lone source for any jazz in Las Vegas, along with The Original Sunday Morning Jazz Show on KXPT 97.1 The Point, hosted by Ric & Jackie Gould. But that show is only a four hour format from 8am-12 noon on Sundays.
Saxophonist Najee performed Friday night, January 23rd, to an enthusiastic crowd in the Railhead Showroom at Boulder Station
Santa Fe & The Fat City Horns will host a concert featuring big band guests, The Las Vegas Super Band, Monday night, January 25th, at the Tropicana Hotel.
Next month, guitarist Al DiMeola will perform one night only at the Green Valley Ranch Resort.
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a personal perspective on the very best from the world of smooth jazz and classic soul. Already described as extremely cinematic, Blue Bolero by Chris Standring is sure to be one of the most talked about releases of 2010. Although the distinctive vibe that has marked out Standring as one of the most soulful smooth jazz guitarists around remains clearly discernable, for Blue Bolero he adds to it with compositions, arrangements and choice of instruments that show off a different side to his musical persona. A case in point is the eight minute six second ‘Overture’. In the way striking string arrangements blend with enticing guitar and flashes of acoustic bass this is a tune that can be rightly regarded as a metaphor for the entire album while the title song, with acoustic bass from Larry Steen and violin by Barbra Porter, demonstrates, perhaps for the first time ever, how contemporary jazz can fuse with classical influences in the most perfect of ways.
In fact the variety that Blue Bolero provides is astounding. The intense ‘Please Mind The Gap’ owes much to the beat that is laid down by Andre Berry on bass and Eric Valentine on drums. Together they provide a platform from which Standring’s edgy playing flourishes and where Katisse Buckingham is able to provide delightful interventions on alto flute. Berry and Valentine stick around for the smoky ‘March Of The Bowler Hats’ that has a catchy vocal chorus from Standring and a fabulous Fender Rhodes solo from Mitch Forman while elsewhere ‘Sunrise’ is as reflective as the title suggests it might be. It’s a track that glistens like light on water and with ‘Lost In Angels’ Standring produces an orchestral expansiveness that could have been taken right out of an Oscar winning film score.
The melodically Latin ‘Bossa Blue’ features great production touches and keyboards from Standring that rival his terrific work on guitar. Rico Belled is exceptional on bass while Dwayne ‘Smitty’ Smith is equally so for the easy grooving ‘Sensual Overload’. However, when Standring breaks things down to the very bare bones for the chilled out ‘Contemplation’ the sparks really start to fly. His interplay with Steen is magical yet his solo guitar for the fifty eight second ‘On Second Thoughts’ proves just how minimalistic he is prepared to go. The outcome is wonderful and he remains in deconstructed mode for ‘Regarding Tetchwick’ where his mellow playing dovetails handsomely with Porter’s sensitive violin. That said the real sensation is the way the tune segues into ‘Fast Train To Anywhere’ which, without doubt, is the album’s outstanding track. Clever production and superb playing from Standring and Porter make this unusual but totally accessible cut a real winner.
As Blue Bolero glides serenely to its conclusion the charmingly reflective ‘At The End Of The Day’ builds a bridge to a parting encore of ‘Bolero’. Much like the entire CD the drama of the piece is stunning and leaves the listener to contemplate just how different this collection really is. This is not smooth jazz built to a formula or where guest artists have been included simply as a commercial imperative. It is however music for grown ups that demands to be heard and, above all, to be appreciated.
Blue Bolero is Standring’s sixth solo release and due out on March 2. Look out for it and for more go to www.chrisstandring.com
Do you have any comments on what you have found in this months Secret Garden? If so please e-mail me on DenisPoole2000@Yahoo.com.
By Jonathan Widran
In 2005, in its review of Brian Culbertson’s soulful, romantic themed release It’s On Tonight, this column dubbed the popular keyboardist “the Barry White of smooth jazz.” Since he put aside sensuality and went all super funky on his decidedly jamming last album, the “Can’t Get Enough Of Your Love, Babe” designation defaults with great passion to one of the genre’s most consistently candlelit saxmen, Kim Waters.
Since the Maryland native signed with Shanachie ten years ago, his urban jazz excursions have found him exploring the loving side of town with such regularity that his album titles have almost become a mantra for the magic four letter word: Love's Melody (1998), One Special Moment (1999), From The Heart (2001) Someone to Love You (2002), In the Name of Love (2004), All For Love (2005) and You Are My Lady (2007). These discs have collectively spawned over 10 #1 hits, the titles of which keep the candlelight burning, starting with “Night Fall,” “Easy Going,” “Secrets Told” and “Until Dawn.”
Waters fans looking to groove before they make out have taken heart these past few years as he’s interspersed his solo projects by producing and performing on the label’s hip-hop oriented cover projects Streetwize and Tha’ Hot Club. He’s also been engaged in some deeper rhythm making with The Sax Pack - the triple threat recording and road ensemble with fellow genre icons Jeff Kashiwa and Steve Cole. The Pack hit the top of the Radio & Records’ airplay chart (and stayed at #1 for two months) in 2008 with “Fallin’ For You,” the kickoff single from their debut release.
Waters may enjoy funking out here and there, but his heart comes back home and mines the lovelorn R&B old school on his eighth Shanachie release I Want You – In The Spirit Of Marvin, which marks a dual celebration: two decades as a recording artist (he launched his career with eight releases on Warlock Records) and the ongoing influence of Motown great Marvin Gaye on his own musical sensibilities and that of the world. No doubt the concept grew out of the spirited reception he got for his 2007 cover of Gaye’s party anthem “Got To Give It Up.”
A lot of genre fans have been slightly fed up with the trend in recent years by core artists to secure easy airplay with cover songs. Waters stirs things up a bit to create a different kind of homage than Jason Miles fashioned on 2006’s What’s Going On? Instead of just saxifying Gaye’s greatest hits, he uses his silky take on the title track (which features the sensuous vocals of Vivian Green) and a richly emotional turn on “Distant Lover” as inspiration for nine originals that help bring Gaye’s vibe into the present tense.
“My dad was a major Marvin fanatic who would play his albums in the house, so when I was growing up, I was getting a steady dose of this along with the guys who became my jazz heroes like Cannonball, Coltrane and Coleman Hawkins,” says Waters. “I think the first tune I remember hearing was the granddaddy of all sexy songs, ‘Let’s Get It On,’ and I thought it would be cool to have a little fun with the title and call one of my new songs ‘Let’s Get On It,’ even if it’s a little more uptempo. It’s like the building passion leading to the first kiss and beyond it.
“What’s always struck me about Marvin’s songs and the reason they’re so timeless is pretty simple - melodies that stick out and won’t let you go,” he adds. “The idea that (Shanachie A&R Director) Danny Weiss and I had sprang from a single question: What would Marvin himself do if he were here now, in terms of melody and groove? Quite a challenge, but I did my own thing with his basic vibe, bringing in that crazy melodic flair he had and putting across the emotion of his vocals through my horns. That’s one advantage of doing a sax album in the spirit of a singer - it’s the one instrument that’s closest in sound to the human voice. But it wasn’t just about the tone of the saxes. I also tried to capture the incredibly detailed sounds that marked the atmosphere of his recordings. There was always so much happening behind him, subtle things that only came through with deeper listening.”
The Sax Pack’s “Fallin’ For You” was still in the Top Ten when I Want You was released, so it was likely that the first single “Take Me Away,” which mixes sizzling horn textures with a dreamscape of cool atmosphere, would compete with it on the radio charts. Waters gets joyful and optimistic on the opener “Groove With Me” and takes things sonically back to the 70s on the otherworldly, spaced out soul of “Cosmic Love,” the soothing “Come With Me” (time traveling is easier when you have a Fender Rhodes handy) and the snappy, shuffling “Some Dreams Come True,” whose jumpy clavinet makes the flow reminiscent of Stevie Wonder’s “Superstition.” And will the ride on the love train ever stop? Not with the ghost of Marvin doing the conducting—“She’s the One,” “Smooth Sailing” and “Thank You” are all vintage Waters.
For years, the saxman recorded at his home studio in Aberdeen, Maryland, but makes use of his full scale setup (Waterfall Studios) in his new home in Sacramento, where he relocated last year. He recorded all the backing tracks there and came to NYC to lay down the sax parts. “The coolest thing was walking into Bass Hit Recording and doing all these tracks in a single day, sometimes in only one take,” Waters says. “It was like, we’re here, let’s go, got it, let’s move on. I also loved doing so much at home first, because that always makes the process so much easier. Beyond that, it was such a privilege to explore Marvin’s legacy and pay tribute in my own way to what he’s meant to my life. Sure, the album is old school, but to me it sounds new and fresh and that’s what good urban jazz is about. My music’s always been about love, but I finally had a chance to express a different kind beyond the typical romantic thing.”
Although vets like The Sax Pack, Boney James and Dave Koz still dominate the airwaves and the contemporary jazz charts 10 to 20 years after they first appeared on the scene, the genre can’t ultimately survive without the occasional new promising saxophonist. Eldredge Jackson, who has become a regional attraction throughout Texas and his adopted home state of Oklahoma these past few years, isn’t paving wholly new ground on his jazz, R&B and gospel infused debut album, but that’s not the point. It’s enough that he’s a fresh voice on the national scene, a new and potentially exciting name on the marquee and dedicated on his debut to everyone’s Listening Pleasure. There are also friends in high (okay, tall) places that ensure he’s got the pedigree to compete. Beyond a few 80’s covers produced by Preston Glass, the core of the collection is a rich collaboration between Jackson and his fellow Tulsan, bassist Wayman Tisdale. It’s hardly the case of just a big name helping out the upstart. Jackson and Tisdale, who co-wrote and produced many of the tracks in Tisdale’s home studio The Bassmint, have been pals since middle school. In fact, one summer when Tisdale was between NBA seasons, he sat in with Jackson’s band at the local Greenwood Jazz Festival. And they share a common spiritual bond, which comes across passionately - and not just on the churchy tunes like “Sunday Morning @ 10am”. Their fathers were both pastors of major congregations that ran in the same local church circles. Another divine commonality: they are also both members of the Oklahoma Jazz Hall of Fame. Tisdale was inducted in 2002, Jackson in 2005.
1) Fourplay, Energy (Heads Up) – The renowned supergroup hit #1 on the Contemporary Jazz chart again with a dynamic label debut that marks Larry Carlton’s tenth year in the guitar chair. The catchy, easy flow of “Fortune Teller” snagged the radio attention, but the deeper treasures are the world music anthem “Cape Town” and “Prelude For Lovers” featuring labelmate Esperanza Spalding.
2) Frank Catalano, Bang! (Savoy Jazz)
3) Oli Silk, The Limit’s The Sky (Trippin N Rhythm)
4) Tim Bowman (Trippin N Rhythm)
5) Walter Beasley, Free Your Mind (Heads Up)
Welcome to the latest issue of Denis Poole’s Secret Garden, the page that offers a personal perspective on the very best from the world of smooth jazz and classic soul. When guitarist Ken Navarro released his 2007 album, The Meeting Place, it immediately became a personal favorite. However, accepting the fact that the follow up, The Grace Of Summer Light, was received to widespread critical acclaim, the recording inexplicably slipped the Secret Garden net. Consequently it is great to announce that Ken is back with his brand new project, Dreaming of Trains that will be available in all good record stores from March 16. It will be Navarro's 19th CD release and includes such featured musicians as Jay Rowe from Special EFX and the Marion Meadows band, Tom Kennedy from the Al DiMeola band and Joel Rosenblatt of Spyro Gyra. Each of the nine original recordings are reported as being built around strong melodic themes with an accessibility that belies the complexity of what overall is a beautifully diverse group of songs.
Check back here soon for a complete review of Dreaming of Trains.
Do you have any comments on what you have found in this edition of the Secret Garden? If so please e-mail me on DenisPoole2000@Yahoo.com.
2009 Grammy nominations & topping Billboard’s jazz charts
By Val Vaccaro
There has been an incredible evolution of American-born trumpeter, composer, and charismatic performer Chris Botti. At 47 years young, Botti has experienced many transitions. Overall, trumpeter Chris Botti has gone from young brown-haired, ‘smooth jazz’ male ingénue to blond jazz/pop/classical crossover music icon, who is one of the world’s best selling instrumental artists. With the pure warmth and graceful beauty of his tone, like his trumpet, Botti seems to have loyal fans in the palm of his hands.
Chris Botti is ending 2009 with 3 Grammy nominations for his current CD and DVD Chris Botti in Boston (which is also #1 on Billboard magazine’s Top Contemporary Jazz Albums chart). The Grammy nominations are for: Best Pop Instrumental Album for the CD (Columbia/Sony Music), Best Long Form Music Video for the DVD (Jim Gable - video director; Bobby Colomby - video producer [Columbia/Sony Music], and Best Instrumental Arrangement for the song “Emmanuel” (arranged by Jeremy Lubbock; performed by Chris Botti and violinist Lucia Micarelli). (See separate review of the DVD Chris Botti in Boston by Val Vaccaro on SmoothVibes.com)
For the end-of-the-year Billboard charts, Botti is also #1 on the Top Contemporary Jazz Artists charts. On Billboard’s Top Jazz Artists chart which lists both traditional and contemporary jazz artists, Botti is #4 – the only instrumentalist among great vocalists – following Michael Bublé (#1), Harry Connick Jr. (#2), and Diana Krall (#3). Two of Botti’s inspirational role models are listed after Botti - the late great Frank Sinatra is #5 and the legendary Tony Bennett is #6 on that chart). Also, Botti’s CD Italia (released in 2007) is #15 on the 2009 end-of-the-year Billboard Top Traditional Jazz Albums chart.
In smaller steps, Chris Botti’s transitions are still impressive. From touring with Frank Sinatra in 1981 to sideman and opening act for Sting in 2001. From appearing on Oprah to performing at Oslo at the 2004 Nobel Peace Prize Concert. From an obscure newcomer, to one of People Magazine’s most Beautiful People in 2004. From session studio musician, to consummate live performer. From introspective soloist with his own band in 1996, to charming collaborator, sensational showman, and tour veteran in 2009. From headlining performer, to Blue Note bobblehead doll in 2009 at the renowned NYC jazz club. From Botti’s smooth-jazz/chill music debut CD First Wish in 1995 to the eclectic mix of crossover music in the 2009 Grammy-nominated Chris Botti in Boston CD and DVD. From Oregon native to NYC transplant to LA homeowner.
From studio musician and sideman, to consummate frontman.
Chris Botti has received both critical acclaim and is a fan-favorite with mainstream audiences around the world. In the past few decades, Botti is one of a handful of trumpeters to successfully reach a larger base of fans. In his own unique way, Chris Botti is following in the footsteps of pop/jazz trumpeters that have reached widespread audiences such as Herb Alpert, Chuck Mangione, Doc Severinsen, Chet Baker, and Botti’s main inspiration, Miles Davis, as well as other instrumentalists such as Kenny G and Yanni. Chris Botti said he admires jazz musicians who successfully crossed-over from jazz to the rock world such as David Sanborn, Steve Gadd, Michael Brecker, and Mark Isham, and felt that he would like to pursue a similar path. Further, Botti has garnered success as a multi-media star, due to a combination of talent, charm, providence, and good looks. For sure, Botti has been lucky and blessed, but he has also dedicated almost four decades of his life with a single-minded determination to get to where he is now.
Around the world, Chris Botti has sold nearly three million albums. He has recorded over a dozen CDs as a solo artist ranging from contemporary jazz and “chill” music to American jazz standards, classical music and pop music. From 1995 to the present, many of Botti’s CDs and DVDs have gone gold or platinum (certified by the RIAA). Botti has also received numerous Grammy nominations and awards.
Chris Botti got his first experience on the road touring with Frank Sinatra in 1981 (he said in a recent show (on May 14th at the Bergen Performing Arts Center) that he took a “leap of faith” and left college early to do that). In the past twenty years, Botti has also worked as a studio musician with many top producers (such as Arif Mardin and Hugh Padgham) and dozens of renowned artists. Chris Botti has recorded and/or performed with a diversity of renowned music artists such as Sting, Tony Bennett, Andrea Bocelli (Botti’s appeared as a guest on some of Bocelli’s PBS special Vivere: Live in Tuscany), Paul Simon, Natalie Cole, Gladys Night, Chaka Khan, Burt Bacharach, Julio Iglesias, Yo-Yo Ma, Ennio Morricone, Paula Cole, Steven Tyler, John Mayer, Joe Cocker, Linda Eder, Bette Midler, Bob Dylan, Aretha Franklin, Stevie Wonder, Joni Mitchell, James Taylor, Rod Stewart, Marc Cohn, Thomas Dolby, Roger Daltrey, Natalie Merchant, Joshua Bell, Jill Scott, The Brecker Brothers, film composer John Barry and more.
In addition, Botti has recorded with jazz artists such as: Michael Bublé, George Benson, Al Jarreau, Gerald Albright, Dave Koz, Jeff Lorber, Philippe Saisse, Peter White, Spyro Gyra, Angela Bofill, Reneé Olstead, Jill Scott, Rachel Z, Bob James, David Benoit, Dave Grusin, David Mann, Andy Snitzer, Eric Marienthal, Lee Ritenour, Russ Freeman, Chris Standring, Jimmy Sommers, Dominic Miller, Brian Culbertson, and others.
While on tour from 1990-1995 with Paul Simon, Botti met saxophonist Michael Brecker, which led to Botti producing the Brecker Brothers’ Out of the Loop CD. The album won a 1995 Grammy for Best Contemporary Jazz Performance. In recent years, Botti has opened for and/or toured with Michael Bublé, Josh Groban, Dave Koz, Diana Krall, Al Jarreau, Bob James, and Joni Mitchell.
From 1999-2001, Botti put his own contemporary jazz band on hold, so that he could go on the road as a member of Sting’s band on the Brand New Day tour. Botti credits Sting with boosting his career, and giving him his big break when he asked Botti to be his opening act. In 2001 after the concert All This Time (which was recorded for a CD/DVD and webcast at Sting’s estate in Tuscany on September 11, 2001). That show was broadcast as a part of an A&E (Arts & Entertainment) cable channel “In Concert” series in the U.S. and received six Emmy nominations.
In 2005, Botti collaborated with Sting on the sweepingly dramatic and poetic ballad “What Are You Doing for the Rest of Your Life” (composed by Marilyn Bergman, Alan Bergman and Michel LeGrand) which appeared on Botti’s CD To Love Again – The Duets. The recording won a Grammy in 2006 for Best Instrumental Arrangement Accompanying Vocalist(s), arranged by Billy Childs, Gil Goldstein and Heitor Pereira.
In 2007. Botti released the CD Italia inspired by the romance of Italy and his own Italian heritage, included classical, jazz, and pop music such as "Ave Maria", "Venice", "Estatè", and the title track "Italia." The CD Italia, which included duets with Andrea Bocelli, Paula Cole, and (a posthumous recording of) Dean Martin, was nominated for a Grammy Award for Best Pop Instrumental Album.
From Headlining Performer, to Blue Note Bobblehead
From December 15, 2009 through January 3rd, 2010, Botti was the headline act for a 3 week run at the legendary Blue Note jazz club in New York City. in the past few years, this has become somewhat of a holiday tradition for Botti at the Blue Note. Botti said the shows at the Blue Note “are always fun for me, and the only other artist to play at the Blue Note for three weeks was Dizzy Gillespie. So I feel quite honored." During Botti’s reign at the Blue Note jazz club in NYC, he was accompanied by his touring band: Billy Childs (piano), Robert (Bob) Hurst (bass), Billy Kilson (drums), Mark Whitfield (guitar), along with special guests: Andy Ezrin (piano), Susie Park (violinist), and Sy Smith (vocals) (according to a Tweet from Sy Smith). On December 24th, the Blue Note gave Chris Botti an early Christmas present – a Chris Botti Bobblehead Doll. The custom-made Bobblehead Doll is merely a token of the admiration and adoration for Botti. (The bobblehead photos were posted by BlueNotenyc on TwitPic.
As part of other end-of-year festivities, Botti pre-recorded a countdown to 2010 with some of his favorite songs, share some stories and new year’s resolutions which was broadcast on New Year’s Eve in 2009 from 8pm to midnight EST on Sirius/XM satellite radio on the Watercolors 71 channel in the U.S. (www.xmradio.com).
From Brown-haired ingénue soloist
The first time I saw trumpeter Chris Botti perform in 1998 at the Berks Jazz Fest in Reading, Pennsylvania, I knew I watching a very special artist. I listened and watched in amazement and awe at Botti’s beautifully ethereal tone and the performance of his musical persona as he played with purity of sound and great breath control, while walking up the aisle into the audience of the Sheraton Reading hotel ballroom. Later in August of 1998, I saw Chris Botti perform at the Mount Hood Jazz Festival (in his native state of Oregon). There was a unique opportune moment when I went backstage and remember saying with a big smile on my face – how lucky I was to say hello to two of my favorite trumpeters standing and talking there together – Rick Braun and newcomer Chris Botti). That same month, I also saw Chris Botti open for Bob James’ smooth-jazz supergroup Fourplay (with Larry Carlton starting his tenure there). I remember watching the two shows on a summer evening under a spectacular full moon at an outdoor theater at a winery in the San Francisco area, where I sat with smooth jazz guitarist Joyce Cooling and her musical director and partner, keyboardist Jay Wagner, who were also fans of all of the performers. At that time on tour in 1998, Chris Botti was promoting his second CD Midnight Without You (released in1997) which was a follow-up to his debut as a solo artist with the 1995 CD First Wish. Little did anyone know that fate had in mind for Botti to be catapulted to worldwide acclaim transcending boundaries as a pop/jazz/classical music crossover artist and multi-media star.
Secrets of Botti’s Tone
Physical fitness and dedication to practice
After the Berks Jazz Fest show in March 1998, I asked Chris Botti what was the secret to his incredible tone and breath control – he said he attributed it in part to doing yoga. In an interview with the LA Daily News in July 2009, Botti said: "I do yoga, but to be honest with you, because I play the trumpet I have to practice that thing three, four, five hours a day. So when I'm not on the road, that's what I'm really trying to do, get better."
Recently, Botti humbly said that after all of his accomplishments, the one goal he continues to nurture is continuing to become a better trumpet player – everything else can simply just fall into place. In a 2005 interview for www.bandn.com, Botti said “ultimately, I think the thing that's most recognizable for me is the actual tone of my trumpet. The way that I phrase and play, the actual sound of my trumpet is very recognizable.” Botti is proud of his special sound, which he refers to as “dark” and “melancholy” tone, rather than a bright one, which really lends itself perfectly when Botti is playing ballads.
Botti attributes his sound to “a natural progression just from years and years of practice…. always trying to achieve a more polished, beautiful, round trumpet sound….Since I was a kid I’ve been trying to do that. So it didn’t just happen overnight at all. It’s been a long journey and something that I’ve dedicated my whole life to.” Botti has also (jokingly or may not jokingly) said: "The trumpet is a bit of mistress….You have to be physically on your game."
Botti also used the sports analogy of how a trumpeter is “like being a baseball pitcher. I think every baseball pitcher would love to paint the outside corner at 95 miles an hour. But it’s just not like that. You just physically can’t do it all the time, and so with the trumpet it’s very similar. Your biggest enemy is the trumpet. Everyone would love to have that kind of dark, beautiful trumpet sound because it’s more rare than getting a bright, brittle trumpet sound.” That sports analogy is a great reflection of the risk that happens every time a trumpet player gets out there to play livea – they put themselves out there on the line. It can be a scary thing for all horn players – and reminded me of a story that was echoed by trumpeter Jon Faddis in an interview at a Jazz Times magazine convention in 1998. Faddis told a story of all of the practice he had to put in (since he was 9 years old) to avoid embarassment to make sure he could confidently hit the high notes (without fail) - inspired by his muse – Dizzy Gillespie. (On December 29th at the 32nd annual Kennedy Center Honors show, Jon Faddis recently played as part of a moving tribute to honoree, 89 year old legendary jazz pianist Dave Brubeck – the same show in which Sting performed a tribute to honoree Bruce Springsteen at that event’s finale.)
Another part of the equation that helps create the special tone is made via the instrument itself. Chris Botti plays a rare 1939/1941 Martin Committee trumpet with a slightly larger bell. The horn was popular from the late 1940s until the mid-1960s played by legends such as Miles Davis, Chet Baker, Dizzy Gillespie, Maynard Ferguson, Al Hirt, Kenny Dorham and Clifford Brown. Botti purchased the trumpet in 2003. Botti has said that “it was like finding a rare Jaguar or a rare Porsche. The sound is just so dark and beautiful, with a really soft and inviting tone." Botti also uses a 3C silver plated mouthpiece from Bach made in 1926, after retiring his 1920 3C Bach mouthpiece. He also uses a Leblanc Vacchiano Harmon mute from the 1950s.
Chris Botti has the dedication and discipline to stay on track - striving to be the best he can be - playing a challenging instrument that not many artists get to master in a lifetime. In admiration of his muse, Botti referred to Miles Davis this way: “Like a great athlete, he could get all around the horn and his sound was brilliant and moody and dark when it needed to be." Botti candidly has expressed his concerns about playing one of the most difficult musical instruments. Botti said "It doesn't take a brain surgeon to look at the history of trumpet players and see how quickly the instrument can make you humble. …Last year, we lost one of the greatest trumpet players of all time in Freddie Hubbard…You just never know, something can go wrong — have your wisdom tooth pulled out — and it just messes up your whole apparatus. Or you cut your lip, and it never heals properly, which is what happened to Freddie. Those things I'm painfully aware of and want to make sure that they don't happen."
For Chris Botti, It is much more than just yoga or playing the right horn that makes him a special musician. It’s the artist himself, the sound, the trumpet, his muses… the sum is much greater than the parts. Chris Botti’s sound seems to derive from the depths of heart and soul. Ask any fan listening and watching trumpeter Chris Botti focus and play the dramatic, religious aria “Ave Maria,” “Hallelujah” or “Time to Say Goodbye,” and you might suspect that there is some sort of divine intervention.
Botti’s Early Roots
Christopher Stephen Botti was born in Portland, Oregon and grew up in Corvallis. As a child, he also lived for two years in Italy. Born on October 12, 1962, that makes Botti a Libra. Even if you are a skeptic about astrology, Botti seems to fit the description of Libras. Being hardworking, idealistic, an archetypal romantic, and valuing beauty and balance appear to be in alignment with Botti’s philosophy on music and life. Consider the balance of his practice regimen and the discipline of being on the road 250+ days a year, his dedication to creating a beautiful tone and lush music on the trumpet, and view his persona – including his taste in designer clothing. A 2005 New York Times article noted that Botti’s taste included “Prada, Gucci, … leather jackets and expensive … jeans (which) make him something of a Sting style-alike.”
Since he was about 10 years old, Botti was already a dedicated musician practicing and playing trumpet. He said he chose music partly because he was not good at sports. Initially, Botti was influenced by his mother, a classically trained pianist and part time piano teacher. According to Botti "I can't really sit down and play a song on the piano. But I know harmony, and generally I compose on the piano rather than on the trumpet."
At 12 years old, he says he had the good fortune of listening to the live album by trumpeter Miles Davis (with saxophonist George Coleman and pianist Herbie Hancock) which included Davis’ recording of "My Funny Valentine." After listening to Davis play, Botti had an epiphany when he realized that he wanted to be a musician, play jazz on trumpet as a way of “doing something meaningful with my life."
In 1980, when Botti was 18 years old, he was chosen as a member of McDonalds’ All American High School Jazz Band, and played at Carnegie Hall. Botti finished his high school senior year credits at Mount Hood Community College in Gresham, and arranged it so he could also play music at night at clubs in Portland. After that, Botti attended Indiana University and studied with jazz educator David Baker and trumpet professor Bill Adam. Botti also received two grants from the National Endowment for the Arts which enabled him to study with trumpeter Woody Shaw and saxophonist George Coleman during two summer college breaks.
While in his senior year at college, Chris Botti had the golden opportunity to tour for two weeks with singer Frank Sinatra, and with drummer Buddy Rich. Botti was also a member of Bruford Levin Upper Extremities, an experimental, jazz fusion-oriented group. In the 1980s, Botti relocated to New York City, under the guidance of producers including Hugh Padgham and Arif Mardin. According to Botti, "After I came to New York "I realized I didn't want to be a jazz musician. I love improvising, but you really need to live the bebop tradition in order to play it. That kind of music--the kind that Woody Shaw, for example, played so brilliantly--just moves a little too quickly for me.”
In 1995, when Chris Botti embarked upon his solo recording career, he knew he needed to steer his own course and hone his own musical style. Botti was not interested in competing with traditional jazz trumpeters and playing bebop, although he says he admires trumpeters like Wynton Marsalis and Terence Blanchard. From 1995 to 2003, Chris Botti’s first five albums had an ‘atmospheric’ quality, produced with “electronic underpinnings.” Botti’s music was marketed as “smooth jazz” although his music had other influences such as alternative, funky pop music and chill music – Botti said he was influenced by pop artists such as Peter Gabriel and Bryan Ferry. In 1995, Botti released his first solo album, First Wish. His second CD Midnight Without You was released in 1997, and included vocalists Paul Buchanan (from Blue Nile) and Jonatha Brooke. In 1999 (when he also began touring with Sting) Chris Botti released Slowing Down The World with vocals from Sting and Jonatha Brooke. Also, in 1996, between his first two CDs, Botti composed the score and recorded a soundtrack for the 1996 Robert M. Young film Caught. In addition, a Best of Chris Botti CD was also released.
In 2001, Night Sessions became Botti’s first release on the Columbia Records label. The CD was well received by music critics. Night Sessions was inspired by the sounds of the late-night European club scene. Some highlights from the CD include the following songs. "Streets Ahead" was the first radio single, an upbeat tune with Botti along with Jeff Lorber on keyboards. Grammy-winner Shawn Colvin sang "All Would Envy" an unrecorded composition by Sting (similar to Sting’s tune "It’s Probably Me"). "Blue Horizon" is a mixture of funky, hip, with jazz fusion and Miles Davis-like influences with pianist Billy Childs’ playing style for that tune in Herbie Hancock’s “Headhunter” mode. Other guest musicians on the CD were: Christian McBride, Vinnie Colaiuta, Luis Conte and Dominic Miller.
In 2002, Chris Botti released a holiday-themed CD called December with songs including “Little Drummer Boy” and "Hark! The Herald Angels Sing." Botti sung (his only recorded vocals to date) on two of the tracks – “Perfect Day" (a tune composed by Richard Marx with the season-appropriate line, "With you, it's Christmas every day") and "Have Yourself a Merry Little Christmas." The CD also included Leonard Cohen's "Hallelujah."
In 2003, Chris Botti released the CD A Thousand Kisses Deep which contains originals and covers that emphasize Botti’s crossover appeal as both a jazz and pop musician. Botti described the CD as "a more mature and expansive version of the kind of thing I started doing eight or nine years ago. I'm chasing the ultimate chill-out vibe. I'm trying to create music that is beautiful and sophisticated at the same time."
The CD included a breathtakingly beautiful, tender interpretation of the classic jazz standard “My Funny Valentine” accompanied by pianist Billy Childs. That’s the song recorded by trumpeter Miles Davis that most inspired Botti when he was only about 10 years old to become a trumpeter. Botti’s version also happens to be my favorite for the tune. I’ve also seen Botti perform “My Funny Valentine” at the old IMAC Theater in Huntington, New York. I continue to savor his beautiful arrangement and improvisations on that song from his 2003 CD.
It seemed for a while that “My Funny Valentine” was Botti’s “signature” tune in concert, but he did not include it on the 2009 DVD release Chris Botti in Boston (hopefully in the future, Botti’s solo version will also be captured on a DVD). Chris Botti, with Sting on vocals, recorded a version of “My Funny Valentine” on his 2006 DVD and CD Live: With Orchesta And Special Guests. (Sting also recorded it for a movie called Ashura (and it appears on Sting’s CD My Funny Valentine: Sting at the Movies.) During Chris Botti’s tours, audience members would often be treated to him playing a poignant version of “My Funny Valentine” – to highlight his pure, warm tones ‘acapella’ (i.e., solo-no band). Botti would usually pick a special person to play the tune to in the audience. In October 2003, I had the pleasure of seeing Botti pick a young boy about 9 years old (about the same age as Botti was when he started playing trumpet). Before he played the song, Botti spoke about the importance of early music education for children. Botti then performed “My Funny Valentine” to the boy, his parents, and the hushed crowd during a Dave Koz show at the Westbury Music Theater in New York. (That same night, in contrast to his beautiful balladeering, Botti showed off his chops performed with Dave Koz on alto sax a memorable, fantastic version of the very funky, hip, quick tempo song “Sounds Of The Underground” which samples the ultra-hip, cool Lee Morgan tune “Sidewinder“ (the song appears on the Dave Koz CD Saxophonic).
Another cover Botti did on the 2003 CD A Thousand Kisses Deep was “The Look of Love” (an exhilarating rendition sung by Chantal Kreviazuk) which was a hit on smooth jazz radio. Botti also later recorded a “live” version of “The Look of Love” with singer Paula Cole and composer/pianist Burt Bacharach on the 2006 CD/DVD Live with Orchestra & Special Guests. In 1967, “The Look of Love” was a popular hit sung by Dusty Springfield as the theme song for the James Bond movie Casino Royale.
In 2004, Chris Botti released his breakthrough, most pivotal CD of his career to date, When I Fall in Love, recorded with the London Symphony Orchestra, and a number of notable artists such as Paula Cole, Billy Childs, Jeff Lorber, Brian Bromberg, Billy Kilson, Dean Parks, and Vinnie Colaiuta. The 2004 album was ‘a dream come true’ for Chris Botti, and the CD was certified gold in sales by the RIAA. The 2004 CD has some of the most romantic jazz standards ever composed from the American Songbook (which appeared in some of my favorite old movie musicals such as those with Fred Astaire singing and dancing to these great songs). With wonderful arrangements by Marc Shulman, Gil Goldstein, Billy Childs, and Jeremy Lubbock, the songs included are: the title track “When I Fall in Love, Irving Berlin’s “What’ll I Do” (featuring Paula Cole on vocals), Rodgers and Hart’s “My Romance,” “Let’s Fall in Love,” Ira and George Gershwin’s “Someone to Watch Over Me,” “Nearness of You,” “Make Someone Happy,” and the Harold Arlen-Johnny Mercer tune “One for My Baby” (covered by artists such as Frank Sinatra). The CD also features the song “La Belle Dame Sans Regrets” sung by Sting (composed by Sting and Dominic Miller). “How Love Should Be” is sung by Paula Cole (and composed and arranged by Jeremy Lubbock). There is also a cover of the song “No Ordinary Love” (made famous by vocalist Sade) which was arranged by Bobby Colomby, Jeff Lorber and Brian Bromberg) with vocals by Jill Zadeh. Botti also included two dramatic selections by Italian composers influenced by classical music: “Cinema Paradiso” and “Time to say Goodbye” (Con Te Partiro).
Chris Botti’s follow-up CD was the 2005 To Love Again: The Duets, produced by Bobby Colomby, which also became a gold album. The CD included jazz standards and other popular love songs, also following the successful formula of artists such as Tony Bennett, Frank Sinatra, and Kenny G with some duets. The 2005 release included instrumentals by Botti on “Embraceable You,” “What’s New,” “To Love Again,” “I’ll Be Seeing You.” The duets included “What are you Doing the Rest of Your Life” sung by Sting (which won a Grammy award), “My One and Only Love” with Paula Cole, “Let There Be Love” with Michael Bublé, “Good Morning Heartache” with Jill Scott (which became a big smooth jazz radio hit), “Are You Lonesone Tonight” with Paul Buchanan, “Lover Man” with Gladys Knight, “Pennies from Heaven” with Renee Olstead, “Here’s that Rainy Day” with Rosa Passos, and the CD’s moving conclusion, “Smile” sung by Steven Tyler.
The 2006 CD/DVD Live with Orchestra & Special Guests was the first of Chris Botti’s highly successful PBS specials recorded at the Wilshire Theatre in Los Angeles (for the public broadcasting system’s TV network 2006 pledge drive). The popular DVD went platinum in sales. The show included six instrumentals, including songs like “Someone to Watch Over Me,” “When I Fall in Love,” and Leonard Cohen’s “A Thousand Kisses Deep” with Botti and his band (including pianist Billy Childs and drummer Billy Kilson). There were eight duets including Sting on vocals for “What are you Doing for the Rest of Your Life” and “My Funny Valentine.” Jill Scott sang “Good Morning Heartache,” Renee Olstead sang “Pennies from Heaven,” and Paula Cole and Burt Bacharach performed on “The Look of Love.” Other guest artists included Gladys Knight and Paul Buchanan.
In 2007, Chris Botti added more of a classical music influence to his themed record called Italia. On the title track, Botti collaborates with opera/pop crossover singer Andrea Bocelli (Italia was composed by Chris Botti and David Foster). (Botti and Bocelli performed that song on Bocelli’s 2007 PBS television special/DVD Vivere: Andrea Bocelli in Tuscany). Botti’s CD Italia also contains duets with Paula Cole, and (a posthumous recording of) Dean Martin. Italia was nominated for a Grammy Award for Best Pop Instrumental Album (as previously mentioned). As noted earlier, Botti’s most recent release is the 2009 Grammy-nominated CD Chris Botti in Boston.
To Blond-Crossover-Music Icon: Lucky Breaks, the Media & the Botti Brand
New York City was Botti’s adopted hometown for many years after he graduated college to gain experience as a studio musician in the 1980s, so in a way, it’s a type of homecoming while he played for three weeks at the Blue Note jazz club, even though he recently purchased a house in Los Angeles. While in NYC, on December 23rd, 2009, Botti did the honors of ringing the closing bell of the New York Stock Exchange. It’s these kinds of unusual items that continue to keep Botti in the press.
For Botti, it seems providence leads to a series of events from one lucky break to another, and whatever challenges and surprising new experiences offered to him, Botti has adeptly handled these events with finesse, grace, humility, and with a sense of humor to top it all off.
One fortunate event for Chris Botti was when Bobby Colomby (who became his producer and manager), brought Botti to Columbia Records (he released the CD Night Sessions on Columbia in 2001). Colomby was the drummer and original founder of the mega-pop group Blood, Sweat & Tears. About three years later, Columbia Records would help change the course of Botti’s career to include covering jazz standards from the American Songbook, and that would make him a rising star. Botti wrote (in his liner notes) that Don Ienner, President and CEO of the parent company of his record label Sony Music Label Group U.S. (Columbia Records) made “a suggestion that is also a personal dream, I know that I am truly blessed. We agreed a recording of romantic music allowing an escape from life’s everyday anxieties would be a timely remedy for listeners and truly extraordinary at this point in time.” The idea was for Chris Botti to record a CD of jazz standards with an orchestra (an expensive initial investment which proved a wise decision for Botti’s career (and from a marketing and sales perspective). That CD became the 2004 release When I Fall in Love (which was later certified as a gold record).
A 2007 New York Times article once described Chris Botti as “Sting-endorsed and Oprah-approved.” Botti always credits his first lucky break to touring with Sting from 1999-2001, which helped get Botti’s solo career to the next level. Botti once told the Palm Beach Post that “He (Sting) calls me his evil younger brother. I gotta tell you, all my big breaks lead back to Sting, every last one of them. Going around the world with … (Sting), he gave me so many fans. ... It all leads back to him and his constant friendship."
According to Botti, “I was opening for Sting. At one of the shows there was some guy in the audience who listened to the show, then went out, bought my album, and sent it to Oprah.” In November 2004, veteran talk-show host Oprah Winfrey quickly became an enthusiastic fan of Botti’s music, and then invited Botti to be a guest on her show where he played the song “When I Fall in Love” for a special fantasy wedding (supposedly at the request of the bride) on the show. Botti also performed on a TV special in May 2005 at Oprah Winfrey’s Legends Ball honoring her African American heroines. After Chris Botti initially appeared on Oprah’s talk show, on November 12, 2004, he performed “Someone to Watch Over Me” and was interviewed by Al Roker on the national program the Today Show on NBC, which further increased his exposure to American audiences watching daytime television. By reaching a new, larger audience (just one week after the appearance 50,000 CDs of Botti’s were sold), Chris Botti’s CD When I Fall in Love shot to the Number 1 Album spot on Amazon.com, and was Number 1 on Billboard’s jazz charts (as www.SmoothVibes.com reported back in November 2004).
Just one month later, in December 2004, Oprah Winfrey was co-host with Tom Cruise at the 2004 Nobel Peace Prize Concert in Oslow, Norway. Botti had the privilege of performing alongside artists such as Andrea Bocelli, Tony Bennett, Diana Krall, Patti LaBelle, Cyndi Lauper, and Joss Stone at the Nobel Peace Prize Concert which was broadcast to over 100 countries. Botti was quoted in the Seattle Times as saying “I just thought, what did I do to deserve this?”
Botti’s 2004 CD When I Fall in Love was later re-released as part of a package with a DVD. In addition to the music, the DVD When I Fall in Love also includes a documentary about the making of the album and a video of Botti's performance of "Someone to Watch Over Me" at the 2004 Nobel Prize Concert in Oslo, Norway. The CD/DVD combination has proved to be a winning marketing formula for promoting Botti as an artist.
As part of popular culture, in 2004, Botti was also voted on People Magazine’s Top 50 most Beautiful People. (The only other ‘smooth jazz’ artist I can recall who has been on a People Magazine list is saxophonist Dave Koz – who was on the 2004 list of People’ Magazine’s ’50 Hottest Bachelors’.) In 2005, a New York Times article described Chris Botti this way: With his sculptured blond hair and crinkly eyes, Mr. Botti, a boyish (looks), is a modern-day jazz heartthrob.
Botti has also been described (sort of tongue-in-cheek) as looking like “a Greek surfer god… Botti the brand is Adonis with a trumpet in his hand” by Minneapolis/St Paul Magazine. From an art history perspective, aficionados might also find some resemblance of Botti to the classical beauty of a marble bust of ancient Roman Emperor Tiberius. (What do you think?)
In 2004, the same year his CD When I Fall in Love was moving up the charts, Chris Botti was covered by the entertainment gossip media for his new relationship with television news reporter Katie Couric, who was then co-anchor of the Today Show on NBC. After sometime, Botti reported to the press that they were no longer an item, and remained friends.
From 2004-2005, Chris Botti also had appearances on numerous American television shows. Botti appeared on the daytime TV variety program The Tony Danza Show, entertainment news programs Access Hollywood and The Insider, and on the Late Late Show with Craig Kilborn. Botti performed a song with Paula Cole on the CBS Early Morning Show and also on The View. Botti also played on the Sharon Osbourne Show where Botti and Jeff Lorber played “My Funny Valentine.” On March 5, 2005, cable news channel CNN aired an interview they did with Botti about what his success meant to him.
Trumpeter Chris Botti has also performed at fundraising events. On March 21, 2005, Botti performed a show at a fundraiser for Hillary Clinton in NYC ($1000 per plate). Interestingly, Botti had also been invited to play at George Bush’s Presidential inauguration. According to SmoothVibes.com, Botti’s manager said Botti turned down the opportunity to play at the Bush event due to conflicts with his touring schedule, but another source –Toby Rogers, author of book on Bush The Blue and The Red, claimed that Sting had influenced Botti’s decision to decline the invitation. In April 2005, Chris performed a show at the First Annual Diamonds For Humanity Gala to benefit the International League for Human Rights at Avery Fisher Hall in Lincoln Center in New York City (sponsored by Gemesis Cultured Diamonds and Harper's Bazaar magazine).
According to SmoothVibes.com, on October 23, 2005, the week that Chris Botti released his 2005 CD To Love Again, Botti had the honor of playing “God Bless America” at Game 2 of the World Series baseball game in Chicago with the Chicago White Sox versus the Houston Astros. This opportunity was to make-up for a lost one the previous year, when Botti was originally scheduled to perform at Game 5 of the 2004 World Series – a game that never happened because the Boston Red Sox beat the Cardinals in their home town of St. Louis in four games, winning their first championship in 86 years.
The marketing of various products and services have also been associated with Chris Botti, which is atypical for most jazz and pop artists. In 2003, Chris Botti appeared in a national advertising campaign for Christian Brothers Brandy (Heaven Hill Distilleries) (notice the brand cleverly has the same initials and shares the same letters of Chris’ first name). The campaign actually was for a "Smooth As Jazz" summer sales promotion, where consumers received a $6 mail-in coupon towards the purchase of Botti’s Night Sessions CD; the firm also sold the brandy with the sampler CD as an on-pack promotion. Also in November, 2003, the U.S. electronics retail chain Best Buy released a limited edition special CD (not sold to the public) as a reward only for members of its frequent-buyers program “Reward Zone.” The CD called Sweet Tracks was packaged in a festive holiday container that looks like a peppermint candy, and included Chris Botti (accompanied by Billy Childs) on the song “O Come All Ye Faithful.” The CD also included vocals by Sting on “Bethlehem Down”, Jewel on “Blue Christmas,” Seal on “Make Someone Happy” and Coldplay on “2,000 Miles.” (Botti was the only instrumental artist on that CD.) On December 21st, 2004, Chris Botti and his band performed a one-hour concert on the QVC Home Shopping cable television channel in their U.S. studio in West Chester, Pennsylvania. QVC broadcasted the show to be available for viewing throughout the world on the internet at http://www.qvc.com/ On November 9, 2005, Botti performed on television at the opening of the Victoria's Secret Fashion Show in New York City. Back in 2004, Botti’s website also sold tee-shirts and other merchandise, and his website often ran contests for visitors to win prizes.
Also, Chris Botti had the honor of performing “My Funny Valentine” on the televised PBS broadcast (which was released in 2007 on a DVD/CD) on pianist Ramsey Lewis’ show: Legends of Jazz with Ramsey Lewis: Season One, Vol. 1, on a program with the subject “The Golden Horns” alongside trumpeters Clark Terry and Roy Hargrove. Botti also hosted a nationally syndicated “Chill music” radio show Chill with Chris Botti (in 2007, the show got a new host and changed its name to Chill with Mindi Abair.) From 2002-2003, Botti was the house band leader on the nationally syndicated daytime talk show The Caroline Rhea Show. With a laugh, Botti once said: "You just never know what will happen in this business!" Botti even did a brief acting stint on a daytime drama (either “The Young and the Restless” or "One Life To Live” – depending on the reported source).
In recent years during his concerts, trumpeter Chris Botti has often picked a young boy in the audience to play a song to (asking if the child plays an instrument) and talking about encouraging young people to play musical instruments and to dedicate themselves to the craft. In this day and age when most schools in the U.S. educational system have cut music programs, trying to promote music as an essential part of education and personal growth, and to keep the industry going is an important goal. In June 2009, Botti took the time from his busy schedule to conduct a special “master class” for young musicians at the Britt Institute. One of the questions Botti asked of the students at the instrumental jazz camp was "What do you do when you practice?"
(Photo credit: Josh Morell)
(To) New “themes” for Botti’s future
By jazz industry standards, trumpeter Chris Botti is somewhat of a pop-culture icon. Yet, there is still plenty of room for Botti’s career to grow.
New Career Strategies
There are always going to be new, interesting media opportunities to conquer. How about playing at the Grammy’s as well as on some other TV shows? What about a role in the right noir-ish, moody, romantic movie? When he’s older, perhaps Botti might get involved with some organizations or causes that champion music education, as well as organizations that help bring jazz to more mainstream audiences – he’s already working with PBS on this - these are issues close to his heart. The possibilities are limitless, the same way Chris Botti’s music crosses boundaries.
There are also new audiences to reach (e.g., more baby boomers, younger music fans, more international). An article in the Minneapolis/St. Paul Magazine once cleverly joked that “if you’ve never heard of Chris Botti, don’t be surprised. All it means is that : a) you’re probably a man, b) you don’t watch daytime television, and c) your iPod deosn’t contain a folder labeled ‘romantic’.”
New Music Themes
Of course, there is also new music to cover. According to Botti, “I think there’s a huge appetite for jazz-influenced music which is melodic, accessible and reins it in, but doesn’t dumb it down at all,” Botti said in a 2008 interview for the Associated Press. That seems to be Botti’s philosophy or niche – to meet that criteria, no matter what he decides to record. From a brand personality viewpoint, according to Minneapolis/St. Paul Magazine, “the product he (Botti) sells is rooted in a kind of unabashed, love-struck sentimentality that’s simultaneously old-fashioned and daring.”
In the liner notes of Botti’s pivotal 2004 CD When I Fall in Love, Botti wrote some insightful comments that would seem to apply to his career for many years to come: “I have often been seduced by the melody of a beautiful song. That these melodies often play to our notion of what romance is, or how it feels, is something that captivates and inspires me when I play.” In a recent interview, Botti also said: “Well, I think that my whole life I recognized that the great trumpet players primarily did ballads. Those are the kind of records that people relate to.”
Right now, the key question remains… So musically - where to, Chris Botti? With Botti’s talent, the Botti brand and his team of top industry support, Botti has found a recipe for continued success as he evolves as an artist. Botti’s manager/producer is Bobby Colomby, former drummer and founder of the famed pop/rock/jazz-influenced 1970s group Blood, Sweat & Tears. Botti also has the support of the great publicity ‘machine’ at Columbia Records (Sony Music)… the separate public relations firm of Rogers & Cowan. (In the 1980s, Rogers and Cowan was Frank Sinatra’s PR firm and in 1981, Botti left college to tour with Sinatra – an opportunity that he could not pass up.) Obviously, Botti has some musical connections in his music and career with Sinatra.
Earlier this year in February, Botti said he is planning to record a new CD and that “the key is figuring out what’s the theme, what’s the vibe, what’s the main thread to the album — and that I don’t know yet.” Also, Botti mentioned (back in 2005) that that he has a ton of Sinatra songs on his iPod. Botti has already covered a number of songs associated with Sinatra – “One for my Baby,” (composed by Arlen and Mercer) “I’ve Got You Under My Skin” performed with Katherine McPhee and “Glad to be Unhappy” performed with John Mayer (composed by Rodgers and Hart) (the latter two on the current CD/DVD Chris Botti in Boston.)
There is a similar Frank Sinatra-like air often found on Chris Botti’s moody tone on trumpet that delves into the depths of listeners’ emotions. Like Sinatra, Botti is a great interpreter of ballads, only in the instrumental realm; there is a melancholy sound which runs through much of Botti’s music (whether it’s ‘contemporary’ jazz from his early CDs, or jazz standards, classical music and pop songs that Botti has recorded in more recent years). The timing also could be right. Eleven years after his passing, “Ole’ Blue Eyes” also know as the “Chairman of the Board” Frank Sinatra is still popular, appearing on Billboard’s 2009 year-end charts with two CDs on the Top Traditional Jazz Albums, as #4 on the Top Traditional Jazz Artists chart and as #5 on the Top Jazz Artists charts, plus Sinatra has influenced top-selling artists such as Michael Bublé (who reached #1 on the Top Jazz Artists chart).
One new theme perhaps could be “Chris Botti’s Bossa Nova.” Bossa Nova has a “cool jazz” vibe, with beautiful melodies, rich harmonies, and understated rhythms which could be a good match for Botti’s musical style. Back in March 1998, when I first met Botti after the Berks Jazz Fest performance, I mentioned to him that I thought it would be great if he would consider recording some of the great love songs from the classic 1967 album Francis Alpert Sinatra-Antonia Carlos Jobim album (in my view – the album is one of the most romantic song collections of love and longing ever recorded).
Also for inspiration, Botti could check out the classic 1963 Getz/Gilberto album which won 4 Grammy awards covering Jobim’s songs, featuring the gorgeous, perfectly-balanced production with Stan Getz, Antonio Carlos Jobim, and Joao Gilberto, with the hit song “The Girl from Ipanema” sung by Astrud Gilberto). Botti (and perhaps his manager/producer Bobby Colomby) might also take note that in1962, saxophonist Stan Getz released an album called Jazz Samba with American guitarist Charlie Byrd which, according to Amazon.com is the only jazz album to reach number one on the pop charts of Billboard magazine. Botti certainly has the potential to cross-over onto the pop music charts from the contemporary jazz domain (perhaps in a similar way to Herb Alpert or Kenny G).
As a jazz journalist, musician, and a Botti fan, I could definitely imagine Botti recording Bossa Nova tinged arrangements of some of those great American songbook tunes from the 1967 Francis Alpert Sinatra-Antonia Carlos Jobim album. Perhaps Botti could record some duets with Michael Bublé or John Mayer singing Cole Porter’s tune “I Concentrate on You,” Irving Berlin’s “Change Partners” as well as the classic “Bubbles, Bangles and Beads.” (Bublé sung “Let There Be Love” on Botti’s 2005 CD To Love Again: the Duets). Perhaps Botti could also have some female jazz vocalists work with him on songs such as “Quiet Nights of Quiet Stars” (Corcovado). Recently, Diana Krall found success with her recent CD titled Quiet Nights – which was the Number 2 Top Traditional Jazz Album on Billboard’s charts. (Botti toured with Krall in 2007.)
As a fan, I would also enjoy hearing Botti doing instrumental versions of sweet, classic Bossa Nova tunes (co-composed by Antonio Carlos Jobim). Two songs that could be an absolutely perfect match for Botti’s pure, warm tone are the beautiful “Dindi,” and the melancholy “Once I Loved” (O Amor en Paz – maybe he could also do a duet version of this with Andrea Bocelli). Botti might also consider covering songs such as “Meditation” (Meditacao) and “Desifinado,” Some other “fun” more upbeat Jobim tunes for instrumental covers for Botti could be: “One Note Samba,” “Water to Drink” (Agua de Beber), “Wave,” “Só Danco Samba” and of course, the classic and popular “The Girl From Ipanema” which could become crowd-pleasing favorites with their catchy melodies for Botti fans in the live show).
A second new “theme” that Botti could pursue is more music from Burt Bacharach’s extensive popular songbook. Botti has already covered two Bacharach songs on his 2003 Thousand Kisses Deep CD: “The Last Three Minutes” and “The Look of Love,” the latter received heavy radio airplay for its catchy production. He also worked with Bacharach on two Grammy- nominated songs (in 2005) "To Love Again," and a separate collaboration with Burt Bacharach, "In Our Time." Perhaps Botti might consider covering some of my favorite Bacharach tunes: “Alfie,” “What the World Needs Now Is Love,” “(They Long to Be) “Close to You,” “Stronger than Before,” “A Message to Martha (Kentucky Bluebird),” “Do you Know the Way to San Jose,” “Always Something There to Remind Me,” “Anyone who Had a Heart,” “April Fools,” “Arthur’s Theme,” “I Say a Little Prayer,” “I’ll Never Fall in Love Again,” and “God Give Me Strength.” (Herb Alpert has already done “Casino Royale and "This Guy’s in Love with You"… but you never know…)
A third new “theme” for Botti’s future recordings might be to pay tribute to Blood Sweat & Tears, Botti’s manager, Bobby Colomby’s old band. Botti could do great versions of tunes such as the beautiful ballad “Sometimes in Winter,” “God Bless the Child,” (BS&T did a great version of the Billy Holiday classic) and upbeat tunes such as “Spinning Wheel” and “You Make me So Very Happy.” How popular would that be with baby boomers!
No matter what Chris Botti chooses to do, whether it’s Botti does Bossa Nova, Burt Bacharach’s songbook, or Blood Sweat & Tears (notice all of the good vibes alliteration – i.e. from “Boston” too), or something else completely unanticipated, it will most likely be enthusiastically welcomed by his fans.
This is just the beginning. Botti is able to play music in any genre – so the inspirational evolution of Chris Botti continues. So here’s a summation of the secret to success for Botti – being true to himself, playing to his strengths – following his heart and his musical muse – his love of the music, hard work, dedication, good luck, gratefulness, and a healthy mix of humility, humor, and musical bravado to keep things fresh also keeps his audiences entertained … with surprises… old and new. As Botti told the LA Daily News earlier this year in July, his “greatest musical weapon over the last couple of years… is the ability to change things up.”
Sort of like Madonna – with her transitions and transformations, Botti knows how to keep the audience guessing and delighted. Chris Botti’s successful collaborations seem to also be on a path similar to another Italian icon who is an interpreter of pop and American Standards, Tony Bennett - who has graciously grown as an artist and a collaborator over time in a timeless way. Botti’s no musical boundaries approach also seem to serve him and his audiences well. Wherever Botti wants to go, his audiences seem sure to follow.
King of the Road
Trumpeter Chris Botti has been on the road touring almost non-stop, 250-300 days a year, for about nine years across the world, and around the U.S., from the Hollywood Bowl to New York City's Carnegie Hall and Blue Note jazz clubs, living in hotels. Botti once owned a duplex apartment in the Soho area of NYC which he bought from Sting, which he later sold. In June 2009, he purchased a home in California.
During his early years touring as a new artist to introduce his original “atmospheric” style of smooth/contemporary jazz to audiences, as a frontman of his own band, he appeared more of an introspective soloist. Between 1998 to 2009, I saw Botti perform at shows numerous times. In more recent years, Botti has become a consummate live performer and collaborator with major artists in jazz, pop, and classical music. Botti appears more relaxed and outgoing on stage and has a great rapport with the audience as a host and telling stories and jokes. Botti credits his transformation to observing pop mega-star Sting perform, as well as touring with other pop artists.
According to Botti: “By being around so many popular singers like a guy like Sting, and seeing him firsthand night after night for years and being on stage with him and making music, you start to see how you can play sophisticated music but still make it accessible to the first two rows as well as 15,000 people. That’s something that you learn through osmosis. Nobody can teach you that or tell you that. You’ve got to see it and be around it and those kinds of artists.”
In addition to showmanship skills, Botti has learned from Sting things like the discipline of being on the road - like how to run a band, and how to manage his own routine of doing yoga, practicing the trumpet, and getting ready for the show, and the motivation to reach a fan base every day.
During the Bergen Performing Arts Center show in May 2009, Botti said a fan recently asked him if he was in the “middle” of his current five-year long continuous tour. Botti cleverly answered that he hopes that he is just at the beginning (the audience’s enthusiastic response was resounding applause). Based upon success of all of Chris Botti’s work, I’m sure that (millions) of fans around the world can’t wait to see what Botti does next! Trumpeter Chris Botti is at the top of his game – or maybe just scaling the peak.
Botti also once was band leader of a daytime talk show. Perhaps someday Chris Botti will host his own variety show – hey – he’s already sort of doing that now live and on the past two DVDs originally recording for American television broadcast PBS. As the 70’s Sonny and Cher variety TV show song goes, “And the beat goes on….” From Breath to Breadth: You’ve Come A Long Way, Chris Botti. Looking forward to the next phases of your journey for many decades in the future.
For upcoming shows and TV appearances, check www.chrisbotti.com. Botti already has over 40 concert dates around the U.S., Japan, and Canada booked through May 2010.