In the 1960s pianist Ramsey Lewis had a great deal of success with a series of recordings that emphasized well worn blues riffs, a strong backbeat, plagal cadences, a party atmosphere, and familiar tunes. Harmonic sophistication and technical wizardry were not the point of these performances. David Benoit finds himself in similar territory on the leadoff tune of his most recent album, a by-the-numbers R&B/soul reading of Herbie Hancock’s classic composition “Watermelon Man.” Benoit’s performance pays homage not only to Hancock but also to Lewis.

The only problem is that Benoit’s take on soul jazz is noticeably soulless. There’s little room for real improvisation, making it more like a smooth R&B or easy listening pop performance than anything deserving the moniker jazz. The lack of anything extemporaneous also cripples Benoit’s version of the Norah Jones hit “Don’t Know Why.” If anyone doubts that it was Jones’ vulnerable voice and sensual delivery that put the song across, they’ve only to listen to Benoit’s listless, Ferrante & Teicheresque performance. While Jones’ minimalist piano work on the song managed to convey a rootsy blues/folk amalgam, Benoit’s flourishes merely sound empty.

That’s not to say that the music contained here is horrible—it’s actually quite pleasant in its own way, but while there are no stunningly bad low points neither are there any real highlights, making the entire experience akin to a musical antidepressant. The combination of Benoit’s mannered composing/playing and Rick Braun’s production pushes everything into a middle ground that evokes neither pain nor pleasure. Benoit is at his best when he combines his gospel-tinged riffs with an introspective vibe and some classical technique, as on “Wistful Thinking,” which finds the pianist backed by his live band. In fact, the second half of the album is much more compelling, including the Benoit originals “Swingin’ Waikiki,” a winning bossa nova, and “Quiet Room,” a tribute to Benoit’s father featuring Braun’s muted flugelhorn work. Perhaps Benoit should trust his own talent and record a full album of his original compositions featuring his working band and produce it himself.