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Live: With Orchestra and Special Guests
Released: Aug 29, 2006
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To Love Again: The Duets - BONUS CD/GIFT PACK
Released: Dec 6, 2005
Label: N\A

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... Continue[+]

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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 Bubl�}, {$Paula Cole}, {$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 {$Botti}'s own creative "voice." [The "Holiday Gift Pack" version of {^To Love Again} features a bonus disc with six classic holiday songs culled from {$Botti}'s 2002 album {^December}.] ~ Matt Collar, All Music Guide

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To Love Again: The Duets - BORDERS EXCLUSIVE - DUALDISC
Released: Oct 18, 2005
Label: N\A

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... Continue[+]

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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 Bubl�}, {$Paula Cole}, {$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 {$Botti}'s own creative "voice." [The Borders Exclusive DualDisc version of {^To Love Again: The Duets} includes an added DVD featuring the entire album in enhanced stereo and video footage of five live performances by {$Botti}.] ~ Matt Collar, All Music Guide

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To Love Again: The Duets - DUALDISC
Released: Oct 18, 2005
Label: N\A

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... Continue[+]

View Tracks (30)

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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 Bubl�}, {$Paula Cole}, {$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 {$Botti}'s own creative "voice." [The Dual Disc version of {^To Love Again: The Duets} includes an added DVD featuring the entire album in enhanced stereo and video footage of four live performances by {$Botti}.] ~ Matt Collar, All Music Guide

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To Love Again: The Duets
Released: Oct 18, 2005
Label: N\A

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... Continue[+]

View Tracks (13)

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Album Cover
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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 Bubl�}, {$Paula Cole}, {$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

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When I Fall in Love - DUALDISC
Released: May 31, 2005
Label: N\A

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... Continue[+]

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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. [The DualDisc version of {^When I Fall in Love} includes a DVD of bonus material featuring an enhanced stereo version of the album, a documentary of the recording process, and a previously unreleased live performance.] ~ Matt Collar, All Music Guide

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When I Fall in Love
Released: Sep 28, 2004
Label: N\A

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... Continue[+]

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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

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A Thousand Kisses Deep
Released: Sep 30, 2003
Label: N\A

{$Chris Botti}'s sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a {\jazz} and {\pop} musician. {$Botti}'s phrasing... Continue[+]

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{$Chris Botti}'s sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a {\jazz} and {\pop} musician. {$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

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December
Released: Oct 22, 2002
Label: N\A

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... Continue[+]

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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 <i>sounds</i> 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

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Night Sessions: Live in Concert
Released: Aug 6, 2002
Label: N\A

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