Benoit’s writing here reaches a new level of melodic beauty and he uses the technological elements to create a beautiful, serene setting that nestles his piano playing in a pocket of gorgeous sound.

David Benoit has pretty much done it all during his lengthy and successful career as a professional musician. He’s recorded an incredible string of albums (more than twenty-five) as a leader, has played on recordings by a huge and impressive list of instrumentalists and pop music singers, has scored films, updated the music of the Peanuts cartoons, and played with symphonies. What could he possibly do to make a recording that is somehow different than much of his discography?

Earthglow began with Benoit’s attempts to infuse his sound with some of what he refers to as “jazz-lounge-Euro-chill” grooves. “Botswana Bossa Nova,” based on the rhythm track of Quincy Jones’ “Soul Bossa Nova” sounds just like Benoit as soon as it hits, but the small details begin to pile up and, sure enough, Benoit has taken his signature sound and updated it without appearing to try too hard to be hip. The sound continues with the bossa-inflected “Will’s Chill” inspired by a rhythm track created by Black Eyed Peas frontman Will.i.am. Here Benoit layers on the chill even more, and it’s doubtful that anyone hearing this track unannounced would identify it as a Benoit recording. Throw in a gorgeous Jeff Kashiwa tenor sax solo and you’ve got a winning combination.

Earthglow was essentially recorded in three steps. First, after a year of experimenting and writing, Benoit took his tunes into the studio with his regular touring group of David Hughes (bass), Jamey Tate (drums) and Brad Dutz (Percussion). Working with this group of musicians with whom he plays nightly while on tour gives Earthglow a coherence and a unified feel that are seldom found on recordings these days. Benoit then invited his musical friends (what a Rolodex that must be) to add their playing to some of these numbers. These friends include Rick Braun (who produced a couple of Benoit’s albums in the 1990s), Kashiwa, guitarist Pat Kelly, and Tim Weisberg on flute as well as alto and bass flute. Weisberg has worked with Benoit often, and it’s nice to still get a chance to hear him play. Finally, co-producer Clark Germain mixed Benoit’s computer sequences with the band and guest artists to form the final recording. It’s a seamless mix that truly adds a new dimension to Benoit’s sound.

There’s a difference between relaxing music and bland music, and Benoit succeeds in being relaxed yet engaged on Earthglow. Benoit’s writing here reaches a new level of melodic beauty and he uses the technological elements to create a beautiful, serene setting that nestles his piano playing in a pocket of gorgeous sound. Earthglow is the perfect album to throw into the CD player after a hectic day, but it doesn’t relieve the listener of the responsibility of listening to and interacting with the music. It’s an album of smooth instrumental music that doesn’t insult the listener with platitudes and hackneyed themes. It seems like the album Benoit was always supposed to make, someday.