News

  • We are proud to announce that Chris Botti will be a special guest in Barbra Streisand's tour this October 2012.

    Dates are:

    Philadelphia - October 8th at Wells Fargo Center
    Brooklyn - October 11th and 13th at Barclays Center (Sold Out)
    Montreal - October 17th at the Bell Centre
    Ottawa - October 20th at Scotiabank Plaza
    Toronto - October 23rd at the Air Canada Centre
    Chicago - October 26th at the United Center
    Vancouver - October 29th at Rogers Arena

    Tickets for the newly announced performances will go on sale starting Saturday, August 11th in Montreal and on Monday, August 13th for all other shows.

    Read more at barbrastreisand.com

  • Here, a Softer Moment; There, a Sweeping One

    Chris Botti on Trumpet at the Beacon Theater

    By NATE CHINEN
    Photo By Chad Batka for The New York Times

    Chris Botti has a trumpet sound that suggests the softer side of luminosity, the realm of sunsets and half-moons and low-wattage incandescence. Mellow and pearly, it emits an unabashed beauty of the sort that you could carefully build a career around — as Mr. Botti has, with extravagant success. But one of the perils of beauty is inertia, and Mr. Botti isn’t about to fall into that trap, as he seemed almost too keen to prove at the Beacon Theater on Tuesday night, in a punchy and ultimately perplexing show.

    There’s an underlying dichotomy in Mr. Botti’s work, which functions both on the level of flickering intimacy and thundering grandiosity. He’s adept at exuding human warmth on a sweeping scale, which explains his collaborative history with Andrea Bocelli and Josh Groban, and sheds light on his affiliation with Sting. Still, it’s striking how differently Mr. Botti conceives of his roles on record and onstage. To stick with the lighting analogy, his studio output is to his live show what a votive candle is to a fireworks display.

    Read the whole article at nytimes.com

  • Through the 1980s and '90s, Chris Botti had a relatively successful career as an in-demand session musician and sideman, and as a composer and producer. Then, in 2001, after he signed to Columbia Records, the stars aligned; since that time he's gone from strength to strength garnering worldwide acclaim as a live performer and selling millions of records.

    WRTI's Jim Cotter caught up with the superstar trumpeter when Botti was in town to play with The Philadelphia Orchestra.

    Listen to the whole interview at wrti.org

  • By Peter Crimmins
    Video by Kimberly Paynter, for NewsWorks

    One of the most popular trumpeters in jazz is in Philadelphia this week.

    Chris Botti, whose smooth and accessible music have earned him a huge international fan base and Grammy nominations, will perform at the Mann Center Thursday with the Philadelphia Orchestra.

    He flew into town a few days before the outdoor gig to teach some of the finer points of technique to teenagers at the Clef Club on South Broad Street.
    A summer camp jazz ensemble of about 20 kids played three numbers for an attentive Botti. Aspiring trumpet player Manny Ohemeng, 16, took a turn soloing on the Horace Silver tune "The Jody Grind."

    "I did a famous Dizzy Gillespie lick, from 'Dizzy's Atmosphere,'" said Ohemeng, who has been playing for seven years. "As my dad sometimes says, 'It's OK to copy, as long as you copy the right cats.'"

    Botti, dressed in a black suit and sneakers, sat back and listened. Then he offered insight learned from great trumpeters like Lee Morgan and Freddie Hubbard.

    "A lot of young musicians try to over-think it," Botti told the young players. "If you listen to the great ones, like Lee Morgan, it's actually more soulful and more simple, and not pentatonic and note-y. For the trumpet player, just simple stuff, that works."

    Botti then played with the students, demonstrating a simpler, more confident lick, ending in a racing, sliding finish.

    After the class, Botti explained what he gets from these drop-in teaching classes.

    "To try to get young people to be more simple-minded, in the sense that you can practice an instrument and find such incredible joy out of producing a note and the simpleness of it, and the connection with the instrument, rather than trying to fast-forward all their lives to are they going to be a superstar, are they going to be on 'American Idol'?"

    Many of the kids on stage have been practicing their instruments for years. As such they could give enough pep to an old warhorse like "When the Saints Come Marching In," with a stepped-up Mardi Gras rhythm, that Botti and his trumpet fell in.

  • BY ALAN ADAMS
    SPECIAL TO THE LAS VEGAS REVIEW-JOURNAL

    Chris Botti doesn't want to be defined as a jazz musician, even though, right now, he is the top-selling jazz instrumentalist in the world. Botti would prefer to be recognized merely as a trumpet player. Merely? That's like saying Rembrandt merely painted pretty pictures.

    He has it all: a big, rich warm sound, dazzling technique (that he doesn't overuse) and seemingly effortless range. His two-plus hour set Friday in Reynolds Hall at the Smith Center for the Performing Arts began with a tune called "Venice," from his album "Italia." Following the original statement and development, Botti traded eight-measure ad lib phrases with the members of his five-piece band, leaving no doubt that he is plenty willing to share the spotlight with them - as he did frequently throughout the evening. Next came the Victor Young tune "When I Fall In Love," with a brilliant piano improvisation by the great Billy Childs, who numbers among his credits four Grammys and the 2009 Guggenheim Award in composition.

    An unusual addition to a jazz concert, classical violinist Caroline Campbell was brought on to join Botti in his version of the "Chopin Prelude in C Minor," a piece commissioned by the government of Poland where the group tours annually. The rich sound of her (amplified) violin was an ideal complement to Botti's own instrument, and the lush lyrical phrases the two produced were perfectly matched.

    The late Miles Davis was a strong influence on Botti, and there is a strong trace of Davis's style in his playing. However, one can pick up elements of Dizzy Gillespie and even Chet Baker in more reflective moments. Campbell joined Botti on "Flamenco Sketches," from what is probably Davis' best-known album, "Kinda Blue." A counterpart album, "Sketches of Spain," provided another Davis classic, "Concierto de Aranjuez." Tempo and volume dropped markedly for a hauntingly beautiful version of Leonard Cohen's "Hallelujah," done with nearly understated simplicity by Botti's muted trumpet with guitar.

    As a change of pace, singer Lisa Fischer took the stage for a knockout set that began with Burt Bacharach and Hal David's "The Look of Love." Soon, both Fischer and Botti were in the front rows of the audience for Ray Noble's "The Very Thought of You," made a hit by Billie Holiday and more recently covered by Etta James. Fischer made her mark through years of appearances on tour with the Rolling Stones; however, Friday's exposure, albeit brief, gave her latitude to display a full catalog of vocal skills, including a range rivaling that of Botti's trumpet.

    While tone production on a brass instrument is largely the product of the player, a share of the rich consistent trumpet sound he is known for must be attributed, in part, to Botti's horn itself, a 1939 Committee model Martin, whose large bore softens and shades the bright piercing quality sought by orchestral players.

    Botti's stage persona appears quiet and withdrawn, that is, until he begins to play. He looks much younger than his age - he'll turn 50 later this year - but he exudes confidence and charm whenever he takes the microphone.

    Botti has diverse experience in several musical genres, including studio work, classical, pop, rock and fusion. One of his mentors, and a musical collaborator, is the multitalented David Foster. No doubt it is largely due to Foster's influence that Botti rejects being pigeonholed. With 14 albums to his credit, and now near what is probably the peak of his creative arc, Chris Botti seem destined to occupy a place of prominence in whatever fields of musical endeavor he chooses to pursue.

    Read at lvrj.com

  • American jazz trumpeter and composer Chris Botti has developed a niche as an award-winning artist who blends jazz with different genres, including pop and classical music.

    His recent album Impressions features an enviable list of guest artists, including Herbie Hancock, Andrea Bocelli and Mark Knopfler.

    "If you go back to Kind of Blue [by] Miles Davis," Botti says, "around 20 per cent of that whole record is Miles' trumpet sound. He featured John Coltrane and Cannonball Adderley and Bill Evans to play as a kind of foil to him."

    Botti takes inspiration from that sort of blending of artistic contributions, but chose to focus on featured guest voices for Impressions, released this spring.

    "When I want to back away from the framework of what’s going on musically, then...the listener is hearing Herbie Hancock or Vince Gill or David Foster or Andrea Bocelli or Mark Knopfler," he told CBC's Zulekha Nathoo.

    The question he asks himself, when contemplating new musical collaborators, is "Who do you get to step into the spotlight — when I'm not there — that is unique and musically satisfying?"

    Over the years, Botti has shared the spotlight with an eclectic range of artists: from Sting and Paul Simon to Steven Tyler and Yo-Yo Ma to Frank Sinatra and Joni Mitchell.

    Most jazz musicians want to "do their thing" and stay away from "pop music melding," he admitted.

    "For me, I like it. I think it's unusual. I'm proud of the guests we've had...It all hangs together as a piece of music."

    After a gig in Toronto on Thursday night, Botti is set to play Ottawa on Friday as well as a concert in Montreal on July 1. Dates throughout the U.S. follow this summer, but he returns to Canada with a stop in Calgary in November.

    Watch the video at cbc.ca

Syndicate content