There are moments here where Botti leans toward modern dance sounds. “Indian Summer,” for example, has a spacey, trance-y synth orchestra for the trumpeter to improvise over. “She Comes From Somewhere” sort of reprises the trance-y sound of “Indian Summer” with its vibrating keyboards and clapping drums, but it’s nevertheless a far subtler incorporation of contemporary techniques.

A Thousand Kisses Deep also features some real jazz for all the purists in Botti’s audience. “My Funny Valentine,” for instance, reaches back to a near-ancient Miles Davis era chestnut, as it features just Botti’s trumpet, along with Billy Childs’ understated piano. “Love Gets Old” is another Botti instrumental duet, with Steve Lindsey on piano this time. It’s a song that doesn’t need words to alert you to its obvious sadness, as Botti fills it full of deep regret.

Yes, “The Look Of Love” is that Burt Bacharach/Hal David smooth soul song, and it’s one where Botti sounds woozy and laid back with his playing. Chantel Kreviazuk also adds clipped vocals to it. The bass and drums are a little more prominent in this particularly modernized rendition. “The Last Three Minutes” is another Bacharach composition, this time co-written with Andre Young. The track features the unusual choice of Doyle Bramhall, the bluesman, for its guitar work. This recording’s Fender Rhodes keyboard part, along with its shivering synth strings and wah-wah guitar, make it seem like something from a blaxploitation film.

Proving that he’s equally familiar with many of Miles Davis’ different stylistic periods, “Do It In Luxury” features Botti’s muted trumpet on the kind of funk-lite Davis relied upon during his later years. Bob Shephard also adds a jazzy tenor saxophone solo on it. “Back Into My Heart” is driven by Matthew Gerrard’s synth bass, and it carries with it a soul jazz vibe. The title track, “A Thousand Kisses Deep,” is slow and sad, and with its lonesome acoustic guitar, it sounds a little like a Mexican ballad.

A Thousand Kisses Deep is a comfortable intersection between straight jazz and soft jazz, and Chris Botti has more than enough talent to walk this fine line.