CD A Thousand Kisses Deep [Chris Botti] (CD 1064184),
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A Thousand Kisses Deep [Chris Botti]

  • 1. Indian Summer
    2. Do It in Luxury
    3. Look of Love, The
    4. Thousand Kisses Deep, A
    5. Ever Since We Met
    6. Back into My Heart
    7. My Funny Valentine
    8. Last Three Minutes, The
    9. If I Could
    10. She Comes from Somewhere
    11. Love Gets Old
  • Additional Info
    Manufacturer Part Number (MPN): 90535

  • Credits
    ProducerSteve Lindsey
    EngineerGabe Veltri; David Ashton; Joe Chiccarelli; Matthew Gerrard

    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

  • Critic Reviews
    JazzTimes (2/04, p.137) - "[T]he Oregon-born musician adds new rhythmic elements to his trademark sound that complement his warm, evocative playing."
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