Chris Botti Albums (12)
What The Critics Say
Chris Botti in Boston features trumpeter Chris Botti along with a bevy of name artists performing live with the Boston Pops Orchestra at Symphony Hall in 2008. Fully documented as a concert film and album, the night is an intimate and soulful birds-eye view of the supple-toned trumpeter who has grown into his role as a virtuoso since his time backing up Sting -- who of course appears here. Perhaps it isn't surprising then the concert is subtly reminiscent of Sting's own classic coming of age concert moment Bring on the Night. If Sting's 1986 show was an attempt to reintroduce himself to the world as a pop-cum-jazz artist, then Botti's 2008 show is clearly a showcase for the one-time smooth jazz wunderkind to fully represent himself as the eye of his own crossover storm. Having never fully embraced the synthetic vibe of the smooth jazz sound, Botti has spent his time since 2004's massively popular When I Fall in Love creating his own organic, acoustic and "straight-ahead" crossover jazz. In the context of contemporary smooth jazz, Botti's retro-gesture is actually kind of innovative. Clearly owing a heavy debt to legendary trumpeter Miles Davis, Botti not only surrounds himself with the elegant, live Boston Pops Orchestra, but has hired some of the most heavy-hitting rhythm section players on the scene with drummer Billy Kilson, bassist Robert Hurst, pianist Billy Childs, guitarist Mark Whitfield, and others. The result clearly pulls much inspiration from Davis' work with Gil Evans -- he even plays "Flamenco Sketches" -- but never seems to belabor the comparison. Similarly, Botti's choice of guest artists including vocalist Josh Groban, violinist Lucia Micarelli, and even rocker Steven Tyler always appears genuinely considered based on Botti's own musical taste. And although pairing the elegant cellist Yo-Yo Ma with Botti is somewhat of a no-brainer, their work together here, much like the entire concert itself, is never less than breathtaking. ~ Matt Collar, All Music Guide
'Live: With Orchestra and Special Guests'
Release Date 1/1/2006
Tracks 30
Label Columbia
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'To Love Again: The Duets'
Release Date 10/18/2005
Tracks 13
Label Sony
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What The Critics Say
Trumpeter Chris Botti's To Love Again: The Duets picks up where his stellar 2004 release When I Fall in Love leaves off, with more gorgeously lush and heartfelt orchestral jazz via the London Session Orchestra. This time showcasing guest vocalists -- as well as a handful of instrumental tracks -- Botti takes an even more classicist approach than before and once again brings to mind such iconic jazz albums as Clifford Brown with Strings and Miles Davis' Porgy and Bess. Largely known as a smooth jazz artist with a sweet trumpet tone, it wasn't until When I Fall in Love that Botti dropped the smooth jazz synthesizers and pop-oriented compositions in favor of Gil Evans-style jazz orchestrations and an acoustic backing quartet. Subsequently, Botti made the best album of his career and didn't sacrifice any of his own laid-back smooth jazz style. In fact, having long been compared to trumpeters Chet Baker and Miles Davis for both his minimalist improvisational style and matinee idol image, this move toward more straight-ahead jazz is actually a better fit. To Love Again does nothing if not reinforce this opinion and finds Botti seeming even more relaxed and in his element. This is no more true than on the romantically melancholy lead-off track "Embraceable You," which finds Botti's horn weeping and sighing over the George Gershwin standard. The same can be said of his work with Sting on the '60s classic "What Are You Doing for the Rest of Your Life." In fact, with such a phenomenal cadre of singers -- including Michael Bublé, Paula Cole, Gladys Knight and others performing such standards as "Let There Be Love" and "Lover Man" -- there really isn't a bad track. Part of the brilliance of the album is that, while it is classicist in tone, many of the vocalists come from the pop world and give the songs a contemporary spin that rubs nicely against Gil Goldstein and Jeremy Lubbock's stylishly old-school arrangements. It also doesn't hurt that Botti is working with such phenomenal jazz talents as pianist Billy Childs, bassists Robert Hurst and Christian McBride, drummer Billy Kilson, guitarist Anthony Wilson and others. That alone makes the few instrumental tracks on To Love Again some of the standout moments on an album as much about vocals as it is about Botti's own creative "voice." ~ Matt Collar, All Music Guide
What The Critics Say
Trumpeter Chris Botti drops the synthesizers and drum loops of his previous effort, Thousand Kisses Deep, for a more elegant and traditional sound on When I Fall in Love. While Thousand Kisses Deep maximized Botti's penchant for mixing perfect pop songs with his Miles Davis-influenced jazz style, it nonetheless featured many of the electronic and processed sounds predictable on modern smooth jazz releases. By eschewing such "go to" pop-jazz production techniques as drum machines and synthesized strings in favor of the real instruments here, Botti ironically sounds utterly groundbreaking on what is ultimately a straight-ahead orchestral jazz album. While nowhere near as improvisationally adventurous as its predecessors, When I Fall in Love is still a revelation in the tradition of Sketches of Spain, Clifford Brown With Strings, and Wynton Marsalis' Hot House Flowers. Mixing standards and contemporary pop tunes all in a straight-ahead style, Botti gives his minimalist Miles-ian horn sound a chance to breath and be enjoyed on its own. Boldly, Botti swings here with a big band on "Let's Fall in Love," and after years of guessing that he would sound great on a standard ballad, you get to enjoy the proof as he sighs and coos his way through "My Romance" with a plaintive tone perfectly counterbalanced by full string orchestra. But it's not just the standards that impress; he turns the Sade classic "No Ordinary Love" into a moody and atmospheric paean that wouldn't sound out of place on Kind of Blue. Similarly, Sting's "La Belle Dame Sans Regrets" -- featuring the ex-Police frontman -- brilliantly combines hardcore jazz improvisation on a radio-friendly modern Latin ballad. Botti should also be commended for choosing a stellar group of backing musicians including the underappreciated pianist Billy Childs, who adds his stylish touch on both acoustic piano and Fender Rhodes. While Botti has broken new ground in the smooth jazz genre in the past, his rediscovery of his jazz roots makes When I Fall in Love the album he has been threatening to make his whole career. ~ Matt Collar, All Music Guide
'A Thousand Kisses Deep'
Release Date 9/29/2003
Tracks 11
Label Sony Jazz
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What The Critics Say
Chris Botti's sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a jazz and pop musician. Botti's phrasing is very keen, uncanny in the way it works with simple rhythmic structures, and his tone is rich and warm. His use of keyboards and drum loops is pretty much up to the minute in terms of its hip factor, and his arrangements appeal to serious jazz fans and are something akin to blessed-out ecstasy to smooth jazz aficionados. Therein also lies the problem. Botti hasn't significantly developed his sense of artifice since his debut album and, if anything, has delved deeper into its oh-so-cool bachelor pad faux elegance than ever on A Thousand Kisses Deep. The title track, a very moving song written by Leonard Cohen, is the finest moment on the disc. A spare guitar backdrop is adorned simply; Botti plays the melody in short, clipped staccato phrases for an entire full verse before the rhythm section enters. The effect is haunting, lushly romantic, and full of a sensual warmth that is as spooky as it is silky. The spare keyboards and brushed drums offer the song as something slightly Latin (thanks to the gorgeous guitar playing by Dean Parks). It could have been the love theme in Robert Rodriguez's Once Upon a Time in Mexico -- yes, it really does feel slightly mariachi! Burt Bacharach's "The Look of Love," despite a marvelous vocal by Chantal Kreviazuk, suffers from cute syndrome -- as does "The Last Three Minutes," another Bacharach tune. The straight pop stuff, such as "Ever Since We Met" with Bridget Benenate's breathy vocals, work very well. Botti's solo entwines the refrain and carries the singer's voice along into the ether. A duet with pianist Billy Childs on "My Funny Valentine" feels a tad stilted, but there is great tension resolution in the third chorus. "If I Could," another original, with the great Smokey Hormel on guitar in addition to Parks, is a true mood-setter. Smoky, slightly steamy with just a hint of a funk backdrop and Botti whispering through the pastel keyboard sounds with his own shade of deep blue and gauzy elegance, it's the babymaker on the album. In all, as with each of Botti's recordings, there is nothing inherently wrong here, and the formula is successful; it's one of the better mood records out there, but it's still formula, contrived and calculated to establish and keep the listener paying some degree of attention, but not too much. ~ Thom Jurek, All Music Guide
What The Critics Say
The story about there being more suicides around the holidays turns out to be a myth, but like all urban legends, it caught on among the populace (or at least among lazy journalists) because it sounds like it should be true; as trumpeter Chris Botti writes in a sleeve note to his seasonal collection, December, "At no other time of the year is there a wider array of emotions than the month of December." This is a clue that Botti, in acceding to his record company's request that he undertake a Christmas album, was not interested in simply celebrating the season in his interpretations of holiday standards. There have been other such contemplative Christmas records: George Winston's album, also called December, is calm rather than celebratory, and Barbra Streisand's Christmas Memories, released in the wake of the September 11 terrorist attacks in 2001, is another collection that takes in the season's complexities. Add Botti's album to that list. The approach, of course, fits in with the trumpeter's overall musical style. Often heard through a mute, his playing usually has an intimate, low-key character, and that is true here, too. Critics have compared him to Miles Davis, and to that one easily may add Chet Baker, especially because like Baker, Botti has chosen to sing here, applying an adequate tenor to Richard Marx's "Perfect Day" and "Have Yourself a Merry Little Christmas" (the latter one of the more troubled of lyrics to become a Christmas standard). It isn't all doom and gloom, of course; there's a playful reading of "Winter Wonderland," for instance. But this is still an album to be put on in the shank of the evening when the Christmas festivities have subsided, not at the height of the celebrations. ~ William Ruhlmann, All Music Guide
What The Critics Say
At the precise moment when a corporate reshuffling and a reduced roster led to death knells in the press for Columbia Records' jazz division, Chris Botti was signing on after three albums at rival Verve, the jazz arm of Universal. Along with Bela Fleck, poached from Warner Bros., Botti seemed to represent the new lean-and-mean Columbia Jazz, an eclectic, contemporary artist with considerable crossover potential to go with his jazz legitimacy. While the dominant sound on Botti's Columbia debut is naturally his haunting, minor-key trumpet playing, highly reminiscent of the more introspective aspect of Miles Davis, his original music, co-written with one-name producer Kipper, is strongly reminiscent of the pop-jazz approach of his most recent employer, Sting, whose tour hiatus created the opportunity for the recording of the album. Sting even contributes a song, the samba-paced All Would Envy," complete with lyrics describing a wealthy May-December marriage, sung by Shawn Colvin. But elsewhere his spare, stylish, multi-cultural music provides a guiding principle. Botti is true to the basic tenets of smooth jazz, which hold that a steady beat within a propulsive rhythm track must be maintained, over which the soloist makes his presence felt. But he and Kipper keep things simple, often using an acoustic guitar to create musical textures more suggestive of Rio than west Los Angeles, where the record was actually cut. And even with his less-is-more style of playing, Botti is capable of coming up with melodies that would be strong enough to support lyrics if someone wanted to write them. (A good example is "Light the Stars.") "Easter Parade," the final track, is by the members of the Blue Nile, another good touchstone for the trumpeter's moody, atmospheric sound. The result is a step above most of the cookie-cutter contemporary jazz albums of the day. ~ William Ruhlmann, All Music Guide
What The Critics Say
Those who heard Chris Botti playing live in the 1990s realized just how much he had going for him as a trumpeter -- not only an appealing sound (sort of a combination of Miles Davis, Chet Baker, Art Farmer, and Chuck Mangione) and sizable chops, but also a lot of warmth and charisma. Botti's studio recordings, meanwhile, were decent, even though they fell short of his potential. Like his previous efforts, Botti's third album, Slowing Down the World, consists primarily of mellow, light pop-jazz designed for the adult contemporary audience. This is unchallenging music, and yet it would be a major mistake to lump it in with the outright elevator muzak that Kenny G, Dave Koz, Najee, and Richard Elliot were known for. Caressing instrumentals like "Why Not" and "Irresistible Bliss" definitely fall into the easy listening category, but they're more soulful, honest, and substantial than a lot of 1990s adult contemporary fare. Although dominated by instrumentals, this CD offers a few vocals -- Sting has a pleasant, if unremarkable, spot on "In the Wee Small Hours of the Morning," while Botti himself provides an unexpected vocal on Randy Newman's "Same Girl." Clearly, Botti's singing owes as much to Baker as his trumpet playing -- like Baker, Botti doesn't have much of a voice, but is nonetheless expressive and intimate. Slowing Down the World is a pleasant collection of mood music, but make no mistake -- Botti is capable of a lot more. ~ Alex Henderson, All Music Guide
'Midnight Without You'
Release Date 5/20/1997
Tracks 10
Label Verve Forecast
See Album Tracklist and Review
What The Critics Say
The trumpeter makes apologies for making albums whose very straightforward melodies owe more to his pop session work with Chaka Khan, Aretha Franklin, and Scritti Politti than the Chet Baker jazz vocabulary he grew up learning. If Botti was aiming for such a seemingly paradoxical blend of open spaces and smoky intimacy on Midnight Without You, he's definitely on the mark. A few of the tracks here -- most notably the snappy blues-based pop tunes "Regroovable" and "The Way Home" -- have seductive rhythm schemes and hypnotic gut-sticking hooks, but the rest just sort of hang back and play aloof, daring listeners to find them anything more than steamy, romantic background music for slow dancing and whatever comes next. The Blue Nile's Paul Buchanan infuses a folky vocal personality into the title track, and "Mr. Wah" uses those synth textures as a springboard for some more intensive improvisational funk exercises, but on tunes like "The Steps of Positano," "Never Gone," and "When Rain Falls" Botti's warm tones are in service of what amounts to a melancholy soundtrack to a rainy day. Which seems to be Botti's very intention. ~ Jonathan Widran, All Music Guide
