Music review: Magic, generosity and CHRIStmas with BOTTI

If jazz, at its worst, is boring, at its best jazz is life-affirming. Avid jazz listeners, if they are dedicated to the music, are every once in a while treated to concerts that have the potential to change their lives. This was certainly the case at Chris Botti's December 6 concert at the Newport Performing Arts Theater, entitled "CHRIStmas with BOTTI." 

From the first measures of the four opening acts—the Philippine Montessori Center Instrumental Ensemble (PMCIE), the Temple Hill International School Instrumental Ensemble (THISIE), Richard Merck, and Jacqui Magno—to the last strains of trumpeter Botti's final encore, the whole evening was magical. Things kicked off with performances by the PMCIE and the THISIE—two instrumental ensembles peopled by oh-so-cute little kids, who acquitted themselves rather well, musically. Next up was singer Richard Merck backed by a crackerjack band of veteran stalwarts —pianist Elhmir Saison, saxophonist Tots Tolentino, bassist Colby dela Calzada, and drummer Mar Dizon. The all-star ensemble swung their bottoms off. In fact, if the main act hadn't been so singularly outstanding, the Pinoys would've blown 'em off the stage. Singer Jacqui Magno then took the stage and she too was buoyed by a surfeit of soul that night. Finally, taking the stage with his band, Chris Botti started off with a soulful take on "The Christmas Song" ("Chestnuts roasting on an open fire..."). Even when played by lesser talents, this tune is winsomely beautiful in and of itself. Played by a master like Botti, it was breathtaking, worth the price of admission itself. Next was a daring arrangement of the old warhorse "When I Fall In Love," where a funky, harmonically angular tag is added to the song form as a vamp for improvisation. Chris Botti was as Joshua blowing Jericho's walls down. But the real star of this tune was pianist Geoff Keezer, who was left to play part of his solo unaccompanied. Testament to his phenomenal command of the instrument, Keezer sustained the irresistibly funky groove while reaching for the stars with post-bop runs with the right hand, playing, just to remind you, alone sans accompaniment. As Botti said at one point, if Geoff Keezer had been on the scene when Miles Davis was still alive, Miles would no doubt have hired Keezer for his band. That Botti is so generous with the spotlight—featuring various sidemen at various points, giving them free reign and allowing them to shine as much as himself—is one of the most admirable of the trumpet virtuoso's many laudable traits. Violinist Arianna Warsaw-Fan, for example, was given as much space as the leader on Chopin's "Prelude in C minor" and on Botti's own "Emmanuelle." She essayed the main themes and the equally important counter-themes, her violin playing foil to Botti's mellifluous trumpet. In lesser hands, the trumpet may not be the best choice to harmonize with a violin, as the former's cutting timbre might overpower the latter. Played by a master in command of his sound, Botti's trumpet sounded almost like a flugelhorn at times; warm, round, mellifluous, like a jazz choco-mallow. It provided a delicious bed for Warsaw-Fan's violin. On "The Look of Love," it was guitarist Leonardo Amuedo turn to be given free reign to soar with blistering pentatonics and scalding post-bop runs. And singer Renee Olstead was given room to moan, groan, and shimmy her way to titillating orgasmic climaxes. Another trumpeter/bandleader known for his impeccable taste in sidemen and his generosity with the spotlight was, of course, Miles Davis. There was a very strong Miles influence in Botti's conception and his impeccable taste in side-people. Botti's conception, alike with Davies, also comprised the synergistic whole of his band's sound. Especially fitting, then, were the two Miles tunes played that night—"Flamenco Sketches," a gossamer tissue of a five-note theme, and the theme of the "Concerto de Aranjuez." These two tunes brought to mind both the classic Miles quintet of "Live At the Plugged Nickel" and the electric "Miles of Human Nature." That Botti can convincingly cop both of those two very distinctive feels is proof of master-level artistry. Reminiscent meanwhile of the Miles of "Time After Time" was Botti's reading of the Michael Jackson tune, "You Are Not Alone". This tune was played as a duet by Botti and guitarist Leonardo Amuedo, and featured Amuedo's prickly harmonies and lilting Brazilian rhythms as much as it did Botti's trumpet pyrotechnics and post-bop avante garde-isms. Drummer Billy Kilson and bassist Richie Goods, meanwhile, were given time to shine on a rocking, funky "Indian Summer". Goods pulled out all the stops and turned in a stunning solo with everything in it, kitchen sink included. Kilson, meanwhile, described by Sting (per Botti's anecdote) as "the most bad-ass drummer around" clowned and hotdogged a bit on his own solo—giving both a master-class on advanced rhythmic subdivision hairsplitting, and a short course on hip hop street dance. It was awe-inspiring, endearing, funny and entertaining as all hell. Badass, indeed. Roused to an insistent standing ovation, the crowd wouldn't let Botti and company go without an encore. On "Nessun Dorma," a cute little girl was pulled from the audience, given the drum throne, and tasked with playing the famed extended drum roll that courses throughout most of the piece. "CHRISTmas with BOTTI" was truly a very satisfying evening of music, and an apt kick-off to a celebration of the Savior's birth. Kudos to Francis Lumen and his Radio High 105.9 for bringing Botti and company over again. May it be an annual occurrence. — DVM/KG, GMA News