Review: Chris Botti - Night Sessions

Shortly after his third and final album for Verve Records, Chris Botti was invited to join Sting for a three year world tour that would eventually end in the autumn of 2001. A hugely successful tour, both financially and critically, and being allowed a generously sized solo spot every night, Botti himself was able to win over many new admirers with this new added, and very welcome, exposure.

At the start of summer in 2001, the tour took a ten week hiatus and Botti took the opportunity to rent a house in the Hollywood hills, assembling a band, some from Stings own touring band (including producer and keyboard player Kipper), with the intention of writing and recording completely new material for a fourth solo album – his debut for Columbia Records. Deciding on the direction and feel he wanted this record to take, Botti chose to work reversed hours - sleeping in the afternoon, writing in the evening, and playing and recording at night right until the sun came up.

Beginning with the languid and soulful acoustic guitar work of long-term Sting sideman Dominic Miller, ‘Lisa’ gets things off to a great start, showing the way forward for the rest of the album - a late-night album, something to listen to on balmy summer nights and take in whilst nursing a cold drink.

If ‘Lisa’ is a more smokily evocative affair, then ‘Miami Overnight’ that follows immediately after, is a more relaxed one – albeit one that perfectly carries the mood. Things then get funky with the radio-friendly sounding ‘Streets Ahead’, containing not only a winning trumpet line, but also some stellar bass work from none other than Christian McBride.

In truth, the album contains songs that fall into one of these three catagories; the smokey night time haze, the more relaxed dare I say it ‘chill’, and the more ‘up’ tracks. All of these pieces combine, in their perfectly sequenced manner, to make an album that feels very much complete – always maintaining its superb atmosphere, without ever falling too far into the chill zone.

‘When I See You’ is perhaps the track most deserving of becoming a breakout hit, featuring as it does a truly great chorus melody, something the penultimate ‘Through An Open Window’, with it funk guitars and stabbing trumpet blasts, also possesses. Perfectly counter-balancing these are pieces like the ambient ballad feel of ‘Light The Stars’ and closing number ‘Easter Parade’ with its subtle and quietly romantic light-as-a-feather trumpet line.

As well as acting as sometime employer and occasional singer for hire to Botti, Sting here donates ‘All Would Envy’ for Shawn Colvin, who in turn adds her own flavour to the song, with just a slight Brazillian twist. And unlike other vocal tracks which are often used to break up an otherwise instrumental album, this does not break up the mood or stand out awkwardly. Instead it complements the rest of the music, and enhances what goes before it and what it preceeds. Similarly, ‘You Move Me’ is a slow and languorous sensual piece that benefits greatly from Camilles seductive breathy voice that slowly moves its way from the background into the fore.

The big surprise with ‘Night Sessions’ is just how big a step up the whole album is from Bottis earlier work. The song-writing is in a much higher league than before, the production by Kipper is first-rate, but subtle, Bottis playing and tone are still as good as ever, but better utilised and melded in with his excellent backing band - most of all though, the whole album gels in a way that perhaps his first albums didn’t. Each of the twelve tracks here is a gem; there is no flab or halfway piece that should maybe never have seen the recording studio. And just as importantly the album is sequenced in a way to get the best out of each track and help provide a more complete atmosphere to the record.

‘Night Sessions’ is an excellent album, with a great sense of pace and feeling. Head and shoulders above anything he had recorded previously, it is in effect the beginning of the second wave of Bottis career – some will still regardless tag Botti as smooth, and in essence he may still be, but here he really truly shines in a way that defies that much derided genre.

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Review: Chris Botti - Slowing Down The World

1999 found Botti firmly climbing the ladder for the crown of the new king of chill. Having released two well-received and high-selling albums, written and recorded a deservedly lauded soundtrack to cult film ‘Caught’, as well as toured extensively around the globe, Botti settled down to produce an album that would unashamedly, as laid out crystal clearly in his liner notes, slow things down and create the perfect mood.

From the offset, the first track, the very radio friendly ‘Irresistible Bliss’, grooves along nicely with a moody sense of cool, but without becoming too ‘smooth’. Immediately too you can hear a better stronger sound to Botti’s work. The production is more rounded, fuller even, helping plump up the bass and enhancing the rhythm sound of the record. Also assisting on a number of tracks, is a strong orchestration, provided by none other than Anne Dudley, that helps add a richer sound to the proceedings – without ever sounding saccharine or over-powering the band.

Another thing to dawn on you is that whereas ‘First Wish’ had a distinct secondary voice in its keyboards, and ‘Midnight Without You’ featured the guitar in a secondary spotlight role, ‘Slowing Down The World’ has just one instrumental voice – the trumpet of Botti. And as ever, the tone of the instrument is gorgeous.

As before, Botti has a guest vocalist on one of the pieces, this time in the form of Sting, who adds a suitably world-wearied sounding vocal line to a suitably melancholic take on ‘In The Wee Small Hours’. A perfect pairing, Sting’s singing beautifully complements Botti’s wistful trumpet playing - the only let down being the slightly limp sounding backing keyboards.

It’s unfortunate then, that one thing ‘Slowing Down The World’ has in common with ‘Midnight Without You’ is having two vocals tracks – one very much worth its inclusion on the album, and one that should really have been left off entirely. Whereas the ‘Midnight Without You’ title track though was pure blandness, a cover of Randy Newmans ‘Same Girl’ is absolutely attrocious and sits completely out of place with the rest of the album. Why is it so bad? Unfortunately, although Chris Botti has easily the most beautiful and crisp trumpet voice, his singing voice leaves much to be desired. Straining weakly against some non-descript piano the song is simply a mistake and makes you wonder who thought this was a good idea.

Luckily, the next track ‘Where I’m Calling From’ instantly more than gets things back on the groove track, and the album ends on a good note too, in the form of the most orchestrated track on the album, ‘Letting Go’.

Interestingly, despite the more overt attempt at chill-out, Botti’s third album is perhaps the most jazz sounding, in both its arrangements and Botti’s own playing. And despite the more chilled direction, the album heads more toward jazz than the previously more pop-sounding first two records. The result is that both the slower moodier tracks and the more upbeat pieces all give the feeling of simultaneously being uplifting and chilled, despite being just a little more melancholic sounding than the earlier ‘First Wish’ or Midnight Without You’.

Ultimately, where the first two Botti solo efforts sounded very alike and in many ways were perhaps interchangeable, ‘Slowing Down The World’ attempts to and succeeds in sounding different – different whilst still maintaining the Botti elements. And with some elements working better than before, and others working much worse, it is personal preference in style that will determine which you deem the better of the albums.

Much better though was just around the corner. Botti would be enlisted to join Stings touring band for almost three full years. In the middle of this tour, he would be able to get just one ten week break. This would in turn provide the right stuff needed to produce his first great album – ‘Night Sessions’.

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Review: Chris Botti - Midnight Without You

Chris Bottis first album under his own name ‘First Wish’ had proved to be a surprise hit for the Verve record label, which wasn’t entirely surprising given both his mastery and the pure silken sound he could get from the trumpet. Coupled with his boyishly good looks and highly photogenic nature, as well as strong live reviews, Botti’s album sold itself with little marketing needed.

In between tours, Botti was asked to compose and perform the score for sultry American indie film ‘Caught’, which garnered itself excellent reviews (more so than the film) and quickly became a hard to find collectors item. Shortly afterwards Botti’s girlfriend left him.

Recorded and released in 1997, ‘Midnight Without You’ offers a ‘more of the same’ approach to the second album, but with a few surprising differences. The electric guitar for one is a welcome guest, occasionally taking a lead role, but more often adding another layer to the rhythm of the music. It is perhaps this that makes ‘Midnight Without You’ less ‘chill’ than the first album. More compelling and grabbing perhaps than the first album, it does though posess less of a cohesive flow than ‘First Wish’.

It begins in a similar manner to the first album - good then but essentially more of the same. The title track that follows though is a weak number with vocals by Paul Buchanan, who struggles to add interest to the general blandness. Easily the weakest track on the album, its inclusion so early on in the album is unfortunate.

Dumping, for the most part, the drums that made up the first album, Botti chooses to extensively use African drums, and their presence certainly raises the music here. ‘Regroovable’ for example is a big highlight that follows on immediately from the disappointment of the title cut, featuring some good funk that helps get the album back onto track perfectly. Along with the very catchy and memorable ‘Way Home’, these two tracks are easily two of the three radio friendliest hits destined to attract new admirers.

The most obvious song here though to be a break out is ‘Forgiven’. The only vocal number from the ‘Caught’ soundtrack is here given a welcome second outing, and greater exposure, as the penultimate track. Featuring superb singing from Jonatha Brooke, whose voice complements Botti’s trumpet throughout, it is a genuine wonder why this wasn’t released as a single with the film. And it makes one wish for the rest of the soundtrack to be more easily available.

The last track, ‘Alone In The City’, written after a relationship breakdown, is a strong ‘late-hours’ comedown number. Ending perhaps on a melancholic note, it is is a strong finish to an equally strong sophomore album.

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Review: Chris Botti - First Wish

Released in 1995, without knowing the date, if you were to take a guess, it would be fairly safe to say that you would most likely guess the recording date of Chris Bottis ‘First Wish’ to within two years.

Placed firmly in the ‘chill-out’ genre, ‘First Wish’ predominantly features the rolling flat drums that strongly formed the rhythm track of numerous dance and acid jazz records throughout the early and mid-nineties. Occasionally these can become repetitive, almost soley forming a steady rhythm for the rest of the band to perform against. Surprisingly then these drums are provided by both Jerry Marotta and Steve Ferrone, acclaimed rockers who usually provide a more individual and stand-out sound – and indeed on a few tracks the dance drums are thankfully replaced by something more funky and soulful.

Drums aside, the keyboards present are just right - sparing but used to excellent effect, helping add real depth to the mix, and providing, along with Botti’s trumpet, several emotive crescendo high moments. ‘Cubism’ and ‘Like I Do Now’ also superbly keep things fresh, with the addition of Michael Breckers guest tenor saxophone and Edie Bricknells honeyed and well-suited vocals respectively. This though is Botti’s record and his is clearly the lead voice - and what a voice. His trumpet has a bright, clear and beautiful tone, and Botti’s playing is strong and emotive throughout, showcasing a good range of wistful romanticism to groovable funk.

And in truth it is Botti’s playing that definitely lifts this out of, and above, the genre known as ‘chill’. Whereas most playing in this area is strictly smooth, and mild to the extreme (Kenny G, Rick Braun) Botti injects a real passion and sensuality into his playing. Certainly the music is good to chill and relax to, but it is most definitely a rung above other music that would be tagged with these categorisations.

Listening to this release many would be drawn to asking “is it jazz?” In truth ‘First Wish’ is not jazz, tenuously it could be placed in the smooth jazz or jazz-chill genres, but Botti here has tried more to create a smooth chill pop-jazz record, albeit one with more emotional resonance. And in large part he succeeds. Whereas most chill music is simply used to provide mellow background noise, the music contained herein breaks out of the mold and showcases an at times exemplary band. Granted, the majority of the tunes here can still be used to soundtrack a funky art gallery or playout an upmarket cocktail party, but it aims to be more and it succeeds.

A good debut, it serves well to highlight its star and the beautiful soulful sound he can coax from his trumpet. Ultimately Botti would later go on to make much better and stronger recordings, which would have much stronger direction – the night-time cool of ‘Night Sessions’ and the romantic high of ‘Italia’ being particular high-points. ‘First Wish’ however showcases a great talent, a name that in 1995 would have been one to watch, and with the passing in time would have greatly rewarded any early followers. If only someone had done something about those drums…

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