Live Music: Chris Botti and Chris Isaak at the Hollywood Bowl
By Don Heckman
There were two guys named Chris on stage at the Hollywood Bowl Friday and Saturday nights. Despite their identical first names, their styles traced to very different genres. And despite those different sources, they both offered performances rich in musicality and compelling entertainment.
Friday evening opened with the first Chris – jazz trumpeter Chris Botti — backed by his own group and the Los Angeles Philharmonic under the baton of Bramwell Tovey.
Although Botti was often identified with the smooth jazz style in his early years, he has always been a player whose music was filled with the authority of jazz authenticity. Over the past two decades his ever-curious, inventive imagination has taken him to jazz settings reaching from performances with full symphonic orchestras, to straight ahead mainstream jazz, and explorations reaching the outer limits of free improvisations.
Much of that territory was explored in his gripping performance at the Bowl.
Botti began with a warm tribute to Miles Davis, applying his trademark, warm tone to a composition long associated with Davis – Rodrigo’s Concierto De Aranjuez. To Botti’s credit, he made the piece’s lush Spanish melodies his own. He was equally expressive with Davis’ “Flamenco sketches.
And when he added some familiar standards – “When I Fall In Love” and “The Very Thought of You” – he once again emphasized his embracingly warm sound and expressive tone to every melodic phrase.
Botti also showcased his skills as a leader, urging the members of his band – pianist Geoff Keezer, guitarist Ben Butler, bassist Richie Goods and drummer Billy Kilson – into their own far-reaching skills. Add to that the mesmerizing violin playing of guest artist Caroline Campbell on the Grammy-nominateed “Emmanuel,” as well as George Komsky’s soaring vocal rendering on “Time To Say Goodbye,” and the stunning versatility of singer Sy Smith.
And I’d be remiss if I didn’t also mention Botti’s easygoing communication with his audience. Strolling the stage, offering occasional interchanges with his listeners, he added a quality of warm connectivity too rarely seen in jazz performances.
Read the full article here at The International Review of Music