Jazz Instrumental Music

Italia by Chris Botti (CD - 09/25/2007)

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Chris Botti in Boston [Digipak] by Chris Botti (CD - 03/31/2009)

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Italia by Chris Botti (CD - 09/25/2007)

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Ah Via Musicom by Eric Johnson (Guitar 1...

Land of the Midnight Sun by Al di Meola ...

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Ah Via Musicom by Eric Johnson (Guitar 1) (CD - 03/20/1990)

"Ah Via Musicom" (03/20/1990) Jazz Instrument Johnson, Eric (Guitar 1), Capitol/EMI RecordsPersonnel: Eric Johnson (vocals, guitar, lap steel guitar, electric sitar, piano); Steven Hennig (guitar); Wee Willie (harmonica); Steve Barber (synthesizer); Roscoe Beck, Kyle Brock, Reggie Witty (bass); Tommy Taylor (drums); Paul Bissell, James Fenner (percussion); Jody Lazo (background vocals). Recorded between March 1988 and June 1989. After being overlooked on his debut, Tones, guitarist Eric Johnson burst onto the airwaves with the surprising hit "Cliffs of Dover." Armed with excellent chops and a clear tone, Johnson took a tired formula and made it sound fresh again. Despite his talents on the fret board, he plays with great restraint and chose to explore a variety of styles, including rock, pop, blues, country, and jazz. While his singing is not quite as interesting as his guitar playing, it is not obtrusive and is at times quite pleasing. This recording has reached near-classic proportions within the guitar community. ~ Robert Taylor

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Land of the Midnight Sun by Al di Meola (CD - 07/01/1986)

"Land of the Midnight Sun" (07/01/1986) Jazz Instrument DiMeola, Al, Columbia (USA)One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career. ~ Scott Yanow

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Time Out [4/11]

The Very Best Of Diana Krall by Diana Kr...

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Time Out [4/11]

"Time Out" (04/11/2006) Jazz Instrument Brubeck, Dave, Legacy RecordingsDave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race. Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon. The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on TIME OUT, an album everyone should own.

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The Very Best Of Diana Krall by Diana Krall (CD - 09/18/2007)

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Legends of Acid Jazz: Sonny Stitt/Don Pa...

Haitian Creole Jazz [5/10]

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Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2 by Sonny Stitt (CD - 01/26/1999)

"Legends of Acid Jazz: Sonny Stitt/Don Patterson, Vol. 2" (01/26/1999) Jazz Instrument Stitt, Sonny, Prestige RecordsOriginally released as two separate albums, Sonny Stitt's SOUL ELECTRICITY! and Don Patterson's FUNK YOU! Personnel includes: Sonny Stitt (saxophone); Don Patterson (organ); Charles McPherson (saxophone). Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Pat Martino, Billy Butler (guitar); Charles McPherson (alto saxophone, tenor saxophone); Don Patterson (organ); Billy James (drums). Liner Note Author: Joe Segal. Recording information: Englewood Cliffs, NJ (09/23/1968-09/24/1968); New York, NY (09/23/1968-09/24/1968). Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package -- Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category -- but for fans of either artist, the material is worth hearing. ~ Richie Unterberger

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Getz/Gilberto [Bonus Tracks] [Remaster] ...

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Haitian Creole Jazz [5/10]

"Haitian Creole Jazz *" (05/10/2005) International Mozayik (Jazz), Zoho MusicMozayik (Jazz): Gashford Guillaume (vocals, drums); Markus Schwartz (vocals, congas, bongos, percussion); Eddy Bourjolly (acoustic guitar, electric guitar); Welmyr Jean-Pierre (piano, keyboards); Gene Torres (acoustic bass guitar); Beethova Obas. Personnel: Beethova Obas (vocals, background vocals); Elie Lapointe, Sheila Williams (vocals); Annie Morel (violin); Diederik Suys (viola); Mathilde Sternat (cello); Sheena Rock (background vocals). Audio Mixer: Kieran Pardias. Recording information: Studio Aladin, Paris, France; Tiki Recording Studios, Long Island, NY. Arranger: Mozayik . It's always so inspiring when American-based musicians mine the riches of their exotic heritage, and this five-piece New York band offers a stirring invitation to explore the vast rhythmic riches of its Afro-Haitian roots. While listeners are enjoying what on the surface sounds like an appealing mix of classical, jazz, gospel, and funk influences, the 12 multifaceted tracks also aim to teach lessons about various traditional Haitian folkloric drum rhythms (all stunningly played by Markus Schwartz). The set is bookended with two tracks using the Rara rhythm, the joyous and frenetic "Caravan" (a showcase for the feisty interplay between guitarist Eddy Bourjolly and pianist Welmyr Jean-Pierre) and "Moving On," which floats an elegant melody atop speedy percussion patterns. Other irresistible native rhythms include Nago (the hypnotic "Sa te Bel"), Mayi ("Pen Mayi"), Ibo (the sassy Latin-flavored "Mirelle"), Kontradans (the moody, laid-back "African Queen," featuring singalong native vocal textures), Kongo ("Limye"), and Petwo (a very tropical "The Journey"). Schwartz's interesting liner notes add some context to the tunes, whose deep textures take a few run-throughs to fully appreciate. Those who are fascinated might be prompted to do more research into what makes jazz tick in Haiti. But for those just out for a nice listen, perhaps legendary jazz bassist Jimmy Haslip's take is quite enough: "beautiful music!" ~ Jonathan Widran

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Getz/Gilberto [Bonus Tracks] [Remaster] by Joao Gilberto/Stan Getz (CD - 05/20/1997)

"Getz/Gilberto [Bonus Tracks] [Remaster]" (05/20/1997) Jazz Instrument Gilberto, Joao, Polygram (Japan)Personnel: Joao Gilberto (vocals, guitar); Stan Getz (tenor saxophone); Astrud Gilberto (vocals); Antonio Carlos Jobim (guitar, piano); Milton Banana (drums). Recording information: New York, NY (03/18/1963/03/19/1973). The record that started the bossa nova craze of the mid-'60s, GETZ-GILBERTO is a justly recognized classic. The disc's success is attributable to its spectacular personnel: the man who basically invented bossa nova, Antonio Carlos Jobim; the man who defined and perfected the genre, Joao Gilberto; his charmingly waifish-sounding wife, Astrud Gilberto; and American tenor saxophonist extraordinaire Stan Getz. Jobim plays guitar and piano; Getz provides remarkably lyrical, complementary lead lines, and Joao Gilberto plays and sings in Portuguese with the most understated, romantic, and artful vocal delivery imaginable. It's a hard combination to beat. Opening track "The Girl From Ipanema," a breezy, infectious Jobim composition with vocals by both Joao and Astrud, became one of the biggest (and most recognizable) hits of the era, and the single most popular Brazilian tune in America. The exquisite shuffle "Desafinado," the Joao-Astrud duet "Corcovado," and the eminently grooving "So Danco Samba" have gone on to become standards of both bossa nova and jazz, and the versions here are definitive. Getz's sensitive playing blends seamlessly with the deceptively casual rhythmic sophistication of Jobim, Gilberto, and percussionist Milton Banana. The material, the musicianship, and the gentle, minimal arrangements and production ensure that GETZ/GILBERTO will never date, age, or tire. It's a perfect album. One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer Joao Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history -- "The Girl from Ipanema," a Jobim classic sung by Joao's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Dan?o Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. [The CD was also released with bonus tracks.] ~ Steve Huey

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Kind Of Blue (Legacy Edition) [Digipak] ...

A Thousand Kisses Deep by Chris Botti (C...

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Kind Of Blue (Legacy Edition) [Digipak] by Miles Davis (CD - 01/20/2009)

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The Best Blue Note Album in the World Ev...

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A Thousand Kisses Deep by Chris Botti (CD - 09/30/2003)

"A Thousand Kisses Deep" (09/30/2003) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Chantal Kreviazuk, Bridget Benanate (vocals); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer piano, keyboards, shaker); Keefus Ciancia (piano, keyboards, Moog synthesizer); Jim Cox (organ, keyboards); Mark Goldenberg (keyboards, programming); Printz Board (synthesizer, programming); Dean Parks (acoustic & electric guitars); Smokey Hormel (electric guitar); Doyle Bramhall (guitar); Chuck Berghofer, Mike Elizondo (bass); Joey Waronker, Abe Laboriel, Jr. (drums); Lenny Castro (bongos, percussion). Personnel: Bridget Benenate, Chantal Kreviazuk (vocals); Dean Parks (guitar, acoustic guitar); Doyle Bramhall (guitar); Matthew Gerrard (electric guitar, keyboards, bass synthesizer, drum programming); Smokey Harmel (electric guitar); Bob Shephard (tenor saxophone); Steve Lindsey (piano, Wurlitzer organ, keyboards, shaker); Keith Ciancia (piano, keyboards, bass synthesizer, Moog synthesizer); Billy Childs Trio (piano); Jim Cox (Fender Rhodes piano, organ, keyboards); Mark Goldenberg (keyboards, drum programming); Chuck Berghofer (acoustic bass); Abe Laboriel, Jr. (drums, hi-hat); Joey Waronker (drums); Lenny Castro (bongos, percussion). Audio Mixer: Dave Way. Recording information: Bill Schnee Studios, N. Hollywood, CA; Capitol Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Sunset Sound Studios, Los Angeles, CA; The Green Room, Los Feliz, CA; The Lab, Santa Monica, CA; World Famous Flamingo Studios, Los Angeles, CA. Photographer: Fabrizio Ferri. 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

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Sarah Vaughan with Clifford Brown [Remas...

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The Best Blue Note Album in the World Ever by Various Artists (CD - 08/31/1999)

"The Best Blue Note Album in the World Ever" (08/31/1999) Jazz Instrument Various Artists, Blue Note Records (USA)Includes liner notes by Michael Cuscuna. This is part of Virgin's Best... Ever! series. The Best Blue Note Album in the World Ever may boast a silly title, but it's hard to argue with what's on this double-disc sampler. Not all of the label's greatest artists are here, but everything is representative, showing how hard bop like John Coltrane's "Blue Train" and Lee Morgan's "The Sidewinder" coexisted with soul-jazz from Grant Green ("Born to Be Blue"), Jimmy Smith ("Back at the Chickenshack"), and Horace Silver ("Song for My Father"). It is true that US3's "Cantaloop" sounds distinctly out of place here and that the latter-day stuff, no matter how good it is, isn't quite as magical as the classic era, but there's no denying that The Best Blue Note Album in the World Ever provides a lot of bang for the buck. ~ Stephen Thomas Erlewine

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Sarah Vaughan with Clifford Brown [Remaster] by Sarah Vaughan (CD - 02/29/2000)

"Sarah Vaughan with Clifford Brown [Remaster]" (02/29/2000) Jazz Instrument Vaughan, Sarah, Verve (USA)Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Digitally remastered by Kiyoshi Tokiwa. Personnel: Sarah Vaughan (vocals); Ernie Wilkins (arranger); Paul Quinichette (tenor saxophone); Clifford Brown (trumpet); Herbie Mann (flute); Jimmy Jomes (piano); Joe Benjamin (bass); Roy Haynes (drums). Producer: Bob Shad. Reissue producers: Richard Seidel, Paul Ramey. Recorded December 16 and 18, 1954, in New York. Originally released at Emarcy (36004). Includes liner notes by Michael Bourne. Personnel: Clifford Brown (trumpet); Sarah Vaughan (vocals); Herbie Mann (flute); Paul Quinichette (tenor saxophone); Jimmy Jones (piano); Roy Haynes (drums, snare drum). Audio Remixer: Kiyoshi Tokiwa. Liner Note Authors: Michael Ullman; Michael Bourne. Recording information: Fine Sound, New York, NY (12/16/1954/12/18/1954); New York, NY (12/16/1954/12/18/1954). Photographer: William Claxton. Arranger: Ernie Wilkins. This album joined the talents of legendary jazz singer Sarah Vaughan with those of 24-year-old wonder-trumpeter Clifford Brown for a December, 1954 released on Mercury Records subsidiary EmArcy. A warm and welcoming hiss washes over this album, giving it a graceful, familiar patina. One feels like a privileged listener let in on an intimate closed session. Brown's playing is sharp and confident throughout, and at times even bears a bit of a racy, histrionic edge. But it is clearly Vaughan who steals the show in this set. The opening and closing strains of "Jim" demonstrate her peerless intonation, as her voice blends with the rest of the instruments to create a mellifluous whole. On "Lullaby of Birdland," Vaughan wallows around her soupy lower register only seconds before breaking into some bebop maneuvering. It is interesting to listen to what kind of interpretive character her tight vibrato and winsome pitch-modulation bring to standards like "September Song," and the Gershwins' "Embraceable You." This is a thoroughly representative collection from one of jazz's all-time greats.

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1920-30-Casa Loma Stomp

The Best Smooth Jazz Ever [3/1]

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1920-30-Casa Loma Stomp

"Casa Loma Stomp" (05/06/1997) Jazz Instrument Gray, Glen, Hep (UK)Personnel: Pee Wee Hunt (vocals, trombone); Gene Gifford (guitar, banjo); Mel Jenssen (violin); Ray Eberle (clarinet, alto saxophone); Glen Gray, Pat Davis (alto saxophone); Stanley Dennis (bass saxophone, tuba); Joe Hostsetter, Frank Martinez, Dub Shoffner, Bobby Jones (trumpet); Billy Rauch (trombone); Howard Hall (piano); Tony Briglia (drums). Liner Note Author: Frank Driggs. Recording information: 10/29/1929-12/06/1930. Arranger: Gene Gifford. Although the later versions of the Casa Loma Orchestra were better-known, the big band was an early pacesetter during the late '20s/early '30s when (particularly among white orchestra) there were few competitors. This album from the Scottish Hep label has the orchestra's 14 best recordings out of the 21 that they cut during their first six sessions. The main soloists at the time were trumpeters Dub Shoffner and Frankie Martinez, trombonist Pee Wee Hunt and Les Arquette on tenor and clarinet but the main star is Gene Gifford who contributed the bulk of the arrangements and was thereby largely responsible for the group's musical personality. Most memorable are "China Girl," "San Sue Strut," "Casa Loma Stomp" and "Put on Your Old Grey Bonnet" but even the obscurities are quite rewarding. This set is recommended to classic jazz and early swing fans. ~ Scott Yanow

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The Best Of New Urban Jazz [4/4]

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The Best Smooth Jazz Ever [3/1]

"The Best Smooth Jazz...Ever! [2 CD Blue Note]" (03/01/2005) Jazz Instrument Various Artists, Liberty (USA)Performers include: Dave Koz, Al Jarreau, Bobby McFerrin, Casandra Wilson, Earl Klugh. Richard Elliott, Bob James, Donald Byrd, Medeski, Martin & Wood and many more. This incredibly light, fun, and surprisingly hip two-CD collection from Blue Note uses the term "smooth jazz" in an unexpected way. Rather than referring to the genre, "smooth" refers to the temperament and feel of these sometimes funky/sometimes poppy tracks that are selected from six decades of jazz. Dave Koz, Richard Elliot, and a couple other names could be filed in the smooth jazz section, but Adderley, Baker, and Byrd are too classic for that, and it's easy to imagine the legions of funky Medeski, Martin & Wood fans recoiling in horror over the title's Kenny G. insinuation. In actuality the disc is a whole lot of fun. Most of it is very hip fun and very little of it is wallpaper. The Bobby McFerrin, Ramsey Lewis, and Chet Baker cuts are obvious choices, but the inclusion of Charlie Hunter's smoky version of Roxy Music's "More Than This" is a very pleasant surprise and having such divergent sounds as St. Germain's "Latin Note" and Elza Soares' "Mas Que Nada" in the same collection is crafty cool. Perhaps Sauve Jazz would be a better title for this pleasing collection of refined and relaxing tunes. ~ David Jeffries

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The Best Of New Urban Jazz [4/4]

"Sweet & Sexy: Best of New Urban [Digipak]" (04/04/2006) Jazz Instrument Various Artists, NaradaDepending on your taste, sweet and sexy in this case could really mean slight and sleepy, but it should be detectable from a glance on the sleeve -- where established names like Jeff Lorber, Warren Hill, Pieces of a Dream, and Alex Bugnon appear -- that you'll be getting a compilation of music that is undeniably very smooth and very relaxed. A two-disco compilation from Narada Jazz, Sweet & Sexy: Best of New Urban highlights material released during the last few years on Narada, Capitol, Higher Octave, and Blue Note. The second disc, dubbed "sexy," is better than the first since it's not as likely to fall into the background without notice; the real distinction is that the cuts are more upbeat than what can be heard on the first disc. Some of the notable inclusions are Urban Knights' "You're the One for Me," Acoustic Alchemy's "Angel of the South," Bugnon's version of Lauryn Hill's "All That I Can Say" (the original was recorded by Mary J. Blige), and Shades of Soul's version of Evelyn King's "Love Come Down." ~ Andy Kellman

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To Love Again *

Way Up! [Digipak] by Wayman Tisdale (CD ...

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To Love Again *

"To Love Again: The Duets" (10/18/2005) Jazz Instrument Botti, Chris, Columbia (USA)Personnel: Chris Botti (trumpet); Billy Childs (piano); Christian McBride (bass instrument); Peter Erskine (drums); Paulinho Da Costa (percussion). As its title implies, TO LOVE AGAIN is essentially a sequel to trumpeter Chris Botti's well received 2004 outing, WHEN I FALL IN LOVE. In fact, two guest vocalists from the earlier album, Sting and Paula Cole, appear again, with Sting lending his distinctive voice to the lilting "What Are You Doing the Rest of Your Life?" and Cole accompanying Botti on the gentle "My One and Only Love." Among the many other guest performers, Aerosmith's Steven Tyler appears on the lush, string-laden "Smile," an odd yet remarkably suitable departure for the raspy-voiced frontman. Despite the added star power, the record is still Botti's show, as he reminds listeners with his smooth, atmospheric Chet Baker-inspired horn lines, particularly on the gently floating "Embraceable You" and the romantic title track.

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