By Don Huebscher for the Leader-Telegram
Ever since attending “An Evening with Chris Botti” at the Pablo Center at the
Confluence last month to kick off the Eau Claire Jazz Festival, I’ve been
struggling to describe what I and about 800 others witnessed.
As I searched for the right words, I came upon them in a description of
Botti’s incredible show by another person who wrote the following online
after seeing him perform late last year.
“If you have not seen (Botti’s) live performance, you are missing one of my
top three concerts of all time,” the reviewer wrote, “combining Brazilian
guitar, operatic singer, jazz singer and pop, jazz and rock … great songs.”
As I walked out of the two-hour, non-stop show that night, I started asking
myself how in the world Eau Claire was able to land (and afford) a show
filled with such incredible talent, depth and diversity. After looking into it a
bit, I’m still not sure I know for sure, but it definitely was a team effort of
Jazz Festival organizers, the broader UW-Eau Claire campus and all of
those who supported construction of the Pablo Center.
It certainly didn’t hurt that Botti (pronounced Boat-ee), one of the world’s
premier trumpeters, attended Indiana University decades ago with Robert
Baca, artistic director of the Eau Claire Jazz Festival and UW-EC director of
jazz studies and professor of trumpet. It also didn’t hurt that pianist
Geoffrey Keezer, an Eau Claire native, toured with Botti for about 10 years.
It also helped that with Baca’s strong recommendation, the board of Eau
Claire Jazz Inc. took a risk and paid a hefty price to bring Botti and his
bandmates to Eau Claire knowing that with an average ticket price of about
$63, breaking even would be no slam dunk.
Fortunately, it worked out, and the big winners were those who attended a
dynamic night of music the quality of which I daresay had never been
witnessed in this city.
“If ever there was a year to take a risk and make a splash with the opening
of the Pablo Center, this was it,” said John Genskow, board president of the
nonprofit Eau Claire Jazz Inc., which works with UW-Eau Claire students to
put on the local Jazz Festival. “A lot of pieces fell into place to make this
Mission accomplished. The crowd became more appreciative and
enthusiastic which each number as Botti trotted out one incredible
entertainer after another to take center stage alongside him. Eau Claire
Jazz Inc. Executive Director Mark Blaskey said my sentiments of Botti’s
show were shared by many people he heard from afterward.
“They were wondering (beforehand), ‘What are we going to see, a trumpet
player standing at the front of the stage?’ ” Blaskey said. “And when they
saw what they saw, the reaction was similar to yours. They were blown
“I spend a lot of time at concerts sitting in the back, and I’m not watching
the artists; I’m watching the reaction of the crowd,” Blaskey added. “And it’s
a great source of pride watching people nodding their heads, tapping their
feet and smiling.”
Botti’s show kicked off a great weekend of music in downtown Eau Claire
that included more than 400 musicians performing with about 60 bands as
part of the growing “52nd Street” event that is a major draw of the festival.
About 2,500 wristbands were sold at $15 each, and combined with
complimentary passes for musicians and sponsors, roughly 3,000 people
mingled through the many venues. Combined with student jazz band
competitions and other headliners Grace Kelly and the New York Voices,
the good times and sweet sounds rolled throughout the weekend.
Now, as they say in show business, what to do for an encore? Not only is
there the challenge of finding and affording talent such as Botti for future
jazz festivals, if that’s even possible, but also growing the local audience for
a genre that is not mainstream and, frankly, not always properly defined,
understood or appreciated.
It’s harder to take financial risks knowing that a mega-talent such as Botti
isn’t well-known enough locally to fill every seat, while country artist Chris
Kroeze of Barron, runner-up last year on NBC’s “The Voice,” quickly sold out
three shows at the Pablo Center in March.
Baca recalled a conversation he had more than 10 years ago with former
UW-Eau Claire Chancellor Brian Levin-Stankevich, who shared Baca’s vision
of expanding the Jazz Festival from the campus to the community but
wasn’t sure the community would support it.
“ ‘You have to convince me what jazz is,’ ” Baca recalls the chancellor telling
him. “ ‘When I think of jazz, it’s two fat sweaty guys playing blues where I
get to listen from five feet away, and I don’t know if I want to see that.’ ”
The genius of Botti, and what Baca stresses, is that jazz is so much more
than that. Botti’s show runs the musical gamut that includes classical,
opera, rock, swing, pop and shades in between all woven into a jazz
framework. Jazz, Baca points out, has influenced every new musical genre
since about 1900.
“We wanted to take our new golden jewel (The Pablo Center) and put
something in there that has never been in our town before who would not
usually come here,” Baca said.
“I think it was a catalyst,” Baca said of Botti’s show. “I would like for him to
come back in a few years and have enough people remember what his
show was like, and bring their friends by word of mouth.”
If that were to happen, I’d be surprised and disappointed if a future Botti
show here didn’t sell out the 1,225-seat Pablo Center. I know that for most
people, $63 or so is pretty steep for a concert ticket, but compared with
how much you’d pay to see the same show in the Twin Cities, plus gas,
parking and food, it’s a bargain. Genskow said he met a woman at Botti’s
show here who came from the Chicago area and told him the cost to see
Botti in the Windy City would have been much higher.
If you need any more convincing that Botti’s visit here was a very special
thing, consider his tour schedule for the coming weeks: May 17-18: Milan;
May 23: London; May 24: Istanbul. That will be followed by nine shows in
Poland and stops in Bucharest, Romania; and Budapest, Hungary. Then it’s
back to New York City for four shows later in June.
Botti also is the largest-selling American instrumental artist since 2004.
He’s been doing what he does for a long time, and few if any do it better.
And to think he performed 10 minutes from my house on April 25. His show
was worth every penny, and all who attended should be grateful to Baca, the
Jazz Festival board, and all those at the university and community who were part of making it happen.
I’m still on a high from Chris Botti’s performance on March 15 with the Baton Rouge Symphony. It was truly a magical night in the Raising Cane’s River Center.
I was a little skeptical of the Irene W. & C.B. Pennington Great Performers in Concert taking place in the cavernous arena (the theater is undergoing renovations), but Botti and his talented band, with the symphony backing them, made it seem intimate — especially when Botti walked into the audience and was joined by talented songstress Sy Smith.
Paula Pennington de la Bretonne, honorary chairwoman of the series, was left speechless when Botti, who was making his third appearance with BRSO, dedicated “Hallelujah” to her. The tears came when Botti and company played the achingly beautiful “Emmanuel,” featuring violinist Ania Filochowska. Opera tenor Rafael Moras gave a goosebump-inducing rendition of “Nessun Dorma.” Some concertgoers, including Paula and Leonard Augustus, were even coaxed onto the dance floor. For major jazz fans, there was Miles Davis’ “Blue & Green.”
The talent Botti has assembled for his latest tour is absolutely fabulous. Aside from Smith and Moras, the group included Brazilian guitarist Leonardo Amuedo, saxophone player Andy Snitzer, pianist Eldar Djangirov, drummer Lee Pearson and bassist Reggie Hamilton. At a post-concert Champagne reception, hosted by Hancock Whitney Bank, sponsors got to meet Botti and his band — a perfect way to end the night!
It’s usually the vocalists who garner the most enthusiasm and devotion from the music loving public. The human voice and a singer’s personality are able to convey emotion and musicality in a very distinct way. Then there is the the charisma and trumpet of Chris Botti to challenge that hypothesis. Chris Botti has become the largest-selling American instrumental artist because of his artistry and ability to electrify an audience with his music and his gracious and elegant personality. Early on in his concert last night Botti referred to The Kravis Center as Carnegie Hall South. With music programming like this in West Palm Beach he might have to greet a New York City audience at the legendary Concert Hall on 57th street by saying welcome to the Kravis Center North!
Chris Botti an artist of the highest order had a group of virtuoso musicians and vocalists with him last night, and to attend his performance had to be one of the music highlights of the season for the Florida audience.
By Jim Sullivan / Contributing writer, Cape Cod Times
HYANNIS — No musician wears quite as many hats — and wears them so well — as does the nattily attired jazz man Chris Botti. He is, at the least, a triple-threat: trumpeter, entertainer/raconteur and bandleader.
Let’s consider the last, first. “My job as bandleader,” said the 55-year-old Botti, early in his set at the Cape Cod Melody Tent Saturday, “is to put together a Rubik’s Cube of all-star musicians.”
He’s done this for years and he’s doing again on this summer’s tour. It’s his name on the marquee, but with his six musicians and three guest singers he’s comprised a band of equals. And what Botti relishes most is sharing the spotlight, having musical conversations with his players, sparking off drummer Lee Pearson, violinist Caroline Campbell or pianist Eldar Djangirov.
In doing so, the 2½-hour concert went every which way, starting sentimental, slow and gentle, with “Gabriel’s Oboe” and “Theme from ’Cinema Paradiso” and then moving forward into a massive explosion with “You Don’t Know What Love Is.” Botti introduced it as a jazz standard, but promised Pearson, who he treated to a big beer cup full of red wine, would soon “drive it over a cliff.” Which the smiling drummer did, shedding his jacket, flinging his sticks into the crowd, performing like a syncopated octopus and drawing a standing O.
Botti is a master of cool, a dapper disciple of Miles Davis and shares his idol’s love of melancholic trumpet runs. He and his band sublimely played Davis’ “Blue & Green,” Botti describing the song’s genius as one of “mood being more important than lyric or melody.” Botti may take musical cues from Davis, but if Miles evinced diffidence or disdain on stage, Botti shines with munificence and charm.
Campbell, who also frequently plays classical music with Andrea Bocelli, did a gorgeous duet with Botti on “Emmanuel” and later took a star turn during Led Zeppelin’s “Kashmir” (incorporating the Beatles “Yesterday,” “Yankee Doodle” and a country hoedown).
Djangirov had a masterful solo during a classical/jazz fusion piece, “Variations on Bach’s Prelude in C# Major.”
Botti didn’t bring out a vocalist until near the end of the first set, that being Sy Smith who belted out “The Very Thought of You.” Veronica Swift did “Embraceable You” and Jonathan Johnson sang the operatic “Time to Say Goodbye.”
Smith returned near the night’s end leading all through a romp of Al Green’s “Let’s Stay Together,” with Botti plucking two enthusiastic 9-year-old girls, Hyannis’s Angelina Lessa and Centerville’s Raelyn Vincent, from the crowd to go up on stage and dance. (After the show, they got to meet him and take photos.)
It was a night of spirited music, racing across multiple genres, and witty chat. Botti once again called the Melody Tent “one of our favorite venues in the world to play,” and, while veteran concertgoers may smile and hear that compliment as business-as-usual baloney, I get the sense Botti means it, digging the intimacy this theater-in-the-round experience gives.
Naples Daily News
Harriet Howard Heithaus, firstname.lastname@example.org; 239-213-6091
If Chris Botti’s full 10-second note holds, his impeccable riffs and repertoire from Herbie Hancock to Harold Arlen aren’t enough, how does a coterie of three singers sound?
Or would you prefer a Brazilian guitar virtuoso who’s on Botti’s latest disc with that? How about a violinist who can dance across the stage while she tucks phrases from Rimsky-Korsakov and Paganini into her jazz solo. And she’s playing all that on a 1735 Guarneri from the Chicago Stradivarius Society.
Botti brought an entourage that could snap, crackle and pop to his sold-out house at Artis—Naples on Monday, eliminating any risk of people — or himself — getting lip fatigue. He was a presence on nearly every piece except Sandy Cameron’s agile violin pastiche, and was as willing to jump in quietly with the right note as to craft an aching solo on “You Don’t Know What Love Is.”
Abbreviations of recorded works, such as on his “Impressions” disc, opened the show, and right out of the box Botti brought in fellow performers like Cameron get things sizzling and Brazilian guitar star Leonardo Amuedo to metamorphose into a romantic mood.
He pulled from his bag of classic Botti booty: “Emanuel,” “When I Fall in Love,” “For All We Know,” “Venice” and “The Look of Love,” personifying that citrus-clean tone he’s known for, even in the thorniest of runs. But Botti yielded the floor for audience warmers such as Sy Smith’s vaulting performance of “Let’s Stay Together.” Al Green would have been proud.
Botti is a master in timing, mood and style, as his discs show, and his performance was just as impeccably timed. After a sweet rendition of the Carpenters’ “For All We Know” that had him wandering among the audience, he brought out young jazz chanteuse Veronica Swift to scat in vocal somersaults on “There Will Never Be Another You.” Swift then applied her silky Ella Fitzgerald vibe to “Embraceable You.”
Botti rarely left the stage, punctuating others’ solos without overwhelming them, the mark of a pro. This pro has had practice, of course, backing up singers from Natalie Cole to Joni Mitchell, Paul Simon and Sting. He understands the critical need for appropriate dynamics and applied it to every song Monday.
Nor did he skimp on talent. Amuedo, who’s a headliner in his own country, created acoustic warmth but also popped out for a stinging electric guitar solo. And Botti should follow Geoffrey Keezer, his current pianist, to the ends of the Earth. Keezer, an alum of Art Blakey and the Jazz Messengers, can filagree nearly any standard in a way that gives it new allure and pull riffs from gospel to classical at the right time, right virtuosity, right everything.
Botti has similarly skilled colleagues in drummer Lee Pearson, double bassist Richie Goods and his synthesizer performer, whose name wasn’t audible.
For those of us brought up in smoky lounges where the microphone was only for a vocalist, the electronically augmented concert-hall style of show takes some getting used to. Yet it didn’t diminish the impressive playing here. Even the enhancement on Cameron’s electric solo gave it the ability to surround the audience.
Cameron, like the others, is a star in her own right. She has toured with Valery Gergiev and the Kirov Orchestra, played the Verbier and White Nights festivals in Switzerland and Russia, is on the soundtrack of “Fifty Shades of Grey” and soloed for Cirque de Soleil’s “IRIS.”
Our only complaint about the concert was — even though the group played nearly two solid hours without intermission — that it wasn’t long enough. We would have loved to have heard more from operatic tenor Chad Johnson, who delivered a shortened verson of “Con Te Partiro (Time to Say Goodbye)” and then disappeared. It was mini-devastation, after expecting warmed-over Andrea Bocelli in the version and getting a strong, singular voice we would like to have heard again. Find something popera — “Nessun Dorma,” perhaps — to give him a little more time onstage.
It was two hours over too fast. It could have been a little less speedy had some of the audience not begun to decamp during the first encore. Is your house on fire?
Botti did return for a second closer, “The Nearness of You,” but a more attentive audience might have won one more song before the 10 p.m. witching hour.