Germaine Bazzle, the high priestess of modern jazz vocalists in New Orleans, always carries herself with great dignity. Yet, as those who’ve seen her put on some funky second line dance moves know, she embraces an essential edge that screams of her hometown’s commitment to improvisation and fun.

On It’s Magic, Bazzle is at her very best going for all of jazz’s possibilities as an involved member of the band. With this crew, including longtime collaborator pianist Larry Sieberth, solid bassist Peter Harris and exuberant drummer Simon Lott, Bazzle enjoys and takes advantage of the big-eared musicians surrounding her. Though they play a part in the production as accomplished accompanists, the musicians’ role with Bazzle go beyond that vital function. The band digs in on this album full of classic material from composers like Duke Ellington and Cole Porter, and enhance the setting with some strong ensemble work and solos.

Bazzle starts the album out swinging on the standard “Don’t Get Around Much Anymore.” Suddenly, as if bursting out, she starts doing some hardcore scatting that’s totally inventive and individualistic. She’s not foolin’ around as she dynamically displays her vocal range. Bazzle has many more tricks in her bag, as, with a smile in her voice, she improvises on an array of standard tunes’ lyrics, phrasing and syncopation. On “Blackbird,” her scat has a yodel-like quality, and elsewhere, she uses her voice to suggest a trombone.

Bazzle’s dramatic delivery on Irving Gordon’s “Be Anything” takes the vocalist to such a rarely experienced dimension that she, who we might think we know well, is transformed.

Great musicians continually reinvent themselves. Expect the unexpected from Germaine Bazzle on the bewitching It’s Magic.