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STUNNING LINCOLN CENTER CONCERT LAUNCHES FIFTH WEILL SEASON
by Philip Beard
Saturday, October 01, 2016
Happy times in a packed Weill Hall Oct. 1: The insouciant, irrepressible, immensely talented trumpeter / bandleader Wynton Marsalis and his powerful, polished Lincoln Center Jazz Orchestra opened Weill’s fifth season with a superb program of jazz classics and classics-to-be that set a high bar for t...
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LATE BEETHOVEN EXPLORED AT MMF CONCERT IN PRESTON HALL
by Paula Mulligan
Thursday, July 21, 2016
The Mendocino Music Festival performance in Preston Hall July 22 was titled “Late Beethoven,” and was the final presentation in the tribute to the composer that was part of this year’s Festival.  Pianist Susan Waterfall has been giving a series of lecture dealing with Beethoven’s life and music, and...
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ANGUISH AND TRIUMPH IN MENDOCINO FESTIVAL'S BIG TENT
by Kayleen Asbo
Sunday, July 10, 2016
The Mendocino Music Festival is highlighting Beethoven this summer, and July 10’s program in the tent could have appropriately borrowed the subtitle from Jan Swafford’s 2014 biography of the composer, Anguish and Triumph. The Festival’s second classical concert paired two Beethoven works wit...
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ARCANE ARENSKY TRIO HIGHLIGHTS NAVARRO'S SEASON OPENING CONCERT IN SCHROEDER
by Terry McNeill
Sunday, October 04, 2015
One would have thought that the glitz surrounding Lang Lang’s 101 Pianists Foundation program Oct. 4 in Weill would have upstaged chamber music at the same time in nearby Schroeder Hall. Not to worry, as the Trio Navarro continues to perform sometimes-neglected gems from the trio literature with a ...
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TRUMPET ON FIRE
by Philip Beard
Friday, September 11, 2015
Chris Botti’s show at SSU’s Green Music Center Sept. 11 was a real barnburner. The highly acclaimed, much-traveled trumpeter--his group is on the road over 300 days a year, playing always to large audiences--was making his second appearance at Weill Hall and Lawn, two years after his sold-out first ...
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GRAND GESTURES IN VIEAUX'S WEILL HALL GUITAR RECITAL
by Gary Digman
Friday, October 18, 2013
Weill Hall is an imposing building situated on the Sonoma State campus, and still has that “new car smell” about it. I was looking forward to hearing guitarist Jason Vieaux’s performance October 18, not only to hear the artist but to experience the acoustics of the hall about which I have been heari...
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BOTTI'S BAND TRUMPETS HIGH-WIRE DERRING DO IN SUMMER-ENDING WEILL CONCERT
by Philip Beard
Sunday, August 25, 2013
No question about it: Weill Hall was the happening place to be on Aug. 25 with trumpeter Chris Botti and his entourage delivering two and a half hours of jazzy, rocky, funky, high-wire derring-do to an audience that loved every minute of it. Almost. The performance was stunning both figuratively an...
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LATE WINTER TURNS TO SPRING IN CREATIVE ARTS SERIES CONCERT
by Michael J. Mello
Sunday, February 24, 2013
A concert of Renaissance and Celtic songs for voice, lute and recorder was presented by soprano and lutenist Doris Williams with the assistance of recorder virtuoso Claudia Liliana Gantivar and mandolinist Mike Bell. The Feb. 24 event in Santa Rosa’s Resurrection Parish Church was part of the Creat...
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MESSIAEN PIANO PRELUDES HIGHLIGHT SMITH RECITAL IN SANTA ROSA
by Beth Zucchino
Sunday, January 27, 2013
Marin Pianist Jean Alexis Smith played a stunning recital Jan. 27 in the first 2013 concert for the Creative Arts Series. In remarks to the Resurrection Parish audience, the pianist explained that although her program has a range of styles from Baroque to Contemporary, all the composers involved wr...
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TANAKA PLAYS AUTHORATIVE MOZART IN CREATIVE ARTS SERIES FORTEPIANO RECITAL
by Richard Wayland
Sunday, April 29, 2012
A pleasant surprise greeted me April 29 when I attended a fortepiano recital at Resurrection Parish in Santa Rosa. The venue was simple, modern, beautiful, and seating was comfortable. The décor reminded me of Pi, a Parisian artist of the fifties. The performer for the season’s final Creative A...
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Chris Botti / Sunday, August 25, 2013
Chris Botti, trumpet; Billy Kilson, drums; Geoffrey Keezer, piano; Leonardo Amuedo, guitar; Richie Goods, bass; Sy Smith, vocals; Caroline Campbell, violin

Trumpeter Chris Botti

BOTTI'S BAND TRUMPETS HIGH-WIRE DERRING DO IN SUMMER-ENDING WEILL CONCERT

by Philip Beard
Sunday, August 25, 2013

No question about it: Weill Hall was the happening place to be on Aug. 25 with trumpeter Chris Botti and his entourage delivering two and a half hours of jazzy, rocky, funky, high-wire derring-do to an audience that loved every minute of it. Almost.

The performance was stunning both figuratively and literally. Here’s the literal part: too damn loud. I confess to being no fan of blast-amp rock concerts, and my enjoyment of the Botti Band was regrettably impaired by the pounding decibels. Clean and crisp decibels, mind you – state-of-the-art sound system and all – but just too many of them for me. Most of the audience appeared to disagree, to judge by the myriad outbursts of applause.

The hall was maybe nearly full, the empty choir loft being the notable exception; no tickets were sold there, presumably for sound-system-related reasons. The tabled central terrace area out back was packed. Summer casual was the order of the day, befitting the afternoon’s late-summer glory, and fancy hats, ties and jewelry displays were few and far between. The three best-dressed people in the hall were Chris Botti himself, in a plain black suit with black-and-white checked tie, and his two female sidekicks, violinist Caroline Campbell in a black backless gown and vocalist Sy Smith in a dazzling silver sheath. The band was filled out with keyboard, drums, piano, guitar, upright or electric bass, and on several of numbers a tenor vocalist.

The band’s entrance onto the stage occasioned a huge ovation, testifying to Botti’s iconic status in the pop/jazz world. They kicked off the concert with a couple of ballads I didn’t recognize, and whose names I couldn’t make out in the applause din when Mr. Botti announced them afterwards. The mood was set: lush shimmering background chords, snare brushes, and soaring lyrical solos on trumpet and violin. Mr. Botti plays with an adjustable bell mike that produces a darker, more flügel-like quality the farther he bends it into the bell of his horn. The violin’s amplification spectrum included a low register that sounded like a herd of cellos, incongruous coming from this single violin, but effective in its own gutsy, boomy way.

Mr. Botti then took the vocal mike and moved articulately into his role as bandleader/front man. He delivered the obligatory encomia to the venue, praising the hall as “identical to Tanglewood, but when we played there it was raining.” Tanglewood with better weather: a nice encapsulation of this wonderful space.

The bulk of the program consisted of a mix of ballads and up-tempo numbers in various instrumental configurations, ranging from the trumpeter’s “My Funny Valentine” tribute to Miles Davis, to Michael Jackson’s “You Are Not Alone” with a diaphanous vocal solo by guitarist Leonardo Amuedo, to Leonard Cohen’s “Hallelujah” featuring another trumpet-guitar duet, to Sting’s bossanova tune “La belle dame sans regrets”, to the leader’s own composition “Italia” with a beautiful solo by guest tenor George Costa, to a couple of Motown-inspired vocals by the slinky scat champion Ms. Smith, to a high-octane funk extravaganza featuring bass player Richie Goods and drummer Billy Kilson. Interjected late in the program was a stellar unaccompanied violin fantasy, presumably by Paganini or some like luminary, that garnered for Ms. Campbell the loudest, longest, best-deserved ovation of the afternoon. An awkward moment was handled lightheartedly when in mid solo something slipped in her mike connection and the techie came onstage and reconnected it, just below the “top” of her dress at the small of her back. She continued with gusto as though nothing had happened.

Ensemble work was generally sound and well-balanced, though at times Mr. Botti’s fortissimo trumpet overpowered his momentary duet mates. Thoroughly impressive were the rhythmic surefootedness and solistic confidence of all the artists. As a trumpet player, Chris Botti richly deserves his star status. He’s obviously worked hard to achieve it, and the results of that work are immediately apparent. His tone is straightforward and honest, employing only a bare minimum of occasional vibrato. Though he lacks the booming low register and the high-range dexterity of an Arturo Sandoval, or the tonguing/breathing pyrotechnics of a Wynton Marsalis, his attacks are clean and accurate, his high notes fat, secure, and in tune, and his breath control absolutely stupendous. Among the high points of the concert for me were two works where he ended holding a pure high note far longer than seemed humanly possible.

It must be said, however, that the default amplification, aside from assaulting one’s eardrums, depleted the potential tonal richness of at least the trumpet and the violin, and I suspect of the vocals as well. Mr. Botti’s tone, though unquestionably solid, was not warm; and Ms. Campbell’s violin too often spoke with an edginess that shortchanged its quality. I guess that’s the price you pay for sound that can be heard a mile away. Obviously lots of people think it’s worth it; I favor of more subtlety.

Mr. Botti handled crowd relations with aplomb. At one point he and Ms. Smith left the stage and marched out to the lawn, to regale the folks out there with some up-close personality. Then they walked back down the main aisles to the stage, ripping/scatting back and forth to each other as they moved through the crowd. The band played a lovely cheesy “happy birthday” to a Jan, somewhere in the audience. And for the penultimate number Mr. Botti invited young Caden, a budding trumpeter from the audience, to come onstage, sit in Mr. Kilson’s seat at the drum set, and bang the cymbals for the climactic last 32 measures or so of funk. The kid did great, and has now got a line in his trumpeter’s résumé that few will ever match. So on top of his world-class talent, Mr. Botti’s a real mensch as well. His folksiness was touching, and obviously appreciated.

Bottom line: Chris Botti and his band provided us with a remarkable afternoon of powerful music encompassing a broad range of styles and talents, packaged in an appealing, heartfelt way that left the audience smiling and shaking their appreciative heads. I’d love to hear it again. At about half volume.