Pianist David Benoit augments his lyrical contemporary jazz sound with a handful of swinging big-band numbers on 2022s artful A Midnight Rendezvous. One of the key architects of what became known as smooth jazz, Benoit has always evinced a deep grasp of a variety of musical styles. While his early work dipped into funk and electric fusion, he has also explored elements of classical, acoustic modern jazz, as well as instrumental pop and R&B. He brings all of these influences to bear on A Midnight Rendezvous, balancing his contemporary leanings with more traditional ones. Of the former, we get the moody, minor-key title track with its subtle Latin groove that brings to mind the work of Carlos Santana. From there he dives into "Pioneer Town," a relaxed finger-snapper co-written by and featuring fellow keyboardist Jeff Lorber. There are also several engaging covers, including a reworking of Maren Morris "The Bones" and a sparkling solo piano rendition of the Dave Koz ballad "You Make Me Smile." All of this is immaculately produced and fits nicely alongside the best of Benoits work. That said, its the three big-band tracks that round out the album that are the biggest surprise. Benoit has worked in large ensemble settings over the years, including his time with the GRP All-Star Big Band, however these recordings are his first big-band tracks under his own name. Helping Benoit bring these arrangements to life is an adept 12-member ensemble featuring such esteemed players as alto saxophonist Eric Marienthal, tenor saxophonist Gordon Goodwin, trumpeter Wayne Bergeron, drummer Dan Schnelle, and others. The most ambitious of the three tracks is "Generations," a spritely Dave Brubeck-esque composition rife with warm horn and sax harmonies that moves from a buoyant Latin rhythm into more broadly swinging old-school jazz sections. We also get the album-closing "Cabin Fever," a hard-swinging blues that, as with much of A Midnight Rendezvous, reveals Benoits strikingly ebullient jazz chops. ~ Matt Collar

Rovi