Popular trumpeter Chris Botti plays jazzy mix

With his self-confident demeanor and chiseled good looks, Botti cut a dashing figure in his understated black suit. His relaxed demeanor was apparent throughout, whether raring back to unleash a torrent of notes or leaning forward to convey a more intimate style of music making.

Botti’s instrumentals were all over the map, from the mellow strains of "Ave Maria” to the driving rhythms of "A Thousand Kisses Deep.” Other selections were chosen to give each member of his band a chance to step in the spotlight. While such moments were impressive from a technical standpoint, some outstayed their welcome.

The Oregon native told of his embarrassment when greeting the previous evening’s audience with "Hello, Tulsa.” Botti also shared news that he and his band have been on the road for five years, a sign not only of his love of music, but the dedication it takes to keep a career going.

While the evening contained its share of lively musical selections, Botti said he prefers the quiet sophistication of tunes that allow him to create an intimate environment with audiences. Even a tune such as "Flamenco Sketches,” which featured a lively middle section, started and ended quietly. The effect was rather like eavesdropping on Botti’s private musings.

The group was just about to launch into Leonard Cohen’s "A Thousand Kisses Deep” when guitarist Mark Whitfield informed Botti that his drummer, Billy Kilson, had inexplicably disappeared. Upon his return, the two shared a few words before Botti erupted into laughter. "When I asked Billy where he had gone,” Botti then told the audience, "he said he’d been to Tulsa.”

Botti featured vocalist Sy Smith in a languorous "The Look of Love” and violinist Lucia Micarelli in "Cinema Paradiso.” On selections that featured backup from the Oklahoma City Philharmonic, conductor Irv Wagner remained ever attentive to the guest artist’s needs.

Joel Levine conducted a quartet of jazz-influenced selections on the first half: a Duke Ellington medley whose standout was the exotic "Caravan,” Richard Rodgers’ "Slaughter on 10th Avenue” from the musical "On Your Toes,” a medley from Kander and Ebb’s "Chicago” with its naughty, 1920s-era feel, and the lively entr’acte to the same team’s "Cabaret.” Though appealing in their pit orchestra versions, when played by a full symphony orchestra, the musical theater selections sparkled with vibrant color.

— Rick Rogers