The prolific Harry Connick, Jr. enjoys many interests and always has lots of irons in the fire. So it makes sense that the pianist, vocalist, composer, arranger and actor records for two very different and distinctive labels, Columbia Records and friend and fellow musician, saxophonist Branford Marsalis’ Marsalis Music. He has been signed to Columbia since 1987, and his releases for that label feature Connick the crooner backed by either a combo or his big band. His first album on the record giant, a self-titled disc produced by Delfeayo Marsalis, was his last all-instrumental release until his 2003 debut on Marsalis Music, Other Hours. Last time out, he and Branford successfully teamed up playing modern jazz in a duo setting on Occasion.

Connick is behind the piano but not the microphone again for this, his third Marsalis Music release, which jumps with a traditional flavor. It’s New Orleanians trumpeter Leroy Jones and trombonist Lucien Barbarin who step out of Connick’s impressive 17-piece big band to add their vocals to “Bourbon Street Parade” and the pianist’s original “Luscious,” respectively.

The album opens wonderfully with Harry playing the spare melody of Louis Armstrong’s “Someday You’ll Be Sorry.” The horns make a striking entrance, crisply punctuating the tune with dramatic effect. A band full of talented, modern players hip to the tradition makes this tune and others including “Fidgety Feet” leap into the big band era while staying true to its contemporary roots. The approach is similar to that of trumpeter Nicholas Payton on his album Dear Louis. Most importantly, the music is simply flawlessly executed and swings like crazy.

Connick is extremely generous with solo time for his gifted band members, which might be considered a flaw for those who want to hear more from his piano. He does offer a beautiful introduction to Sidney Bechet’s “Petite Fleur” before the sax takes over the melody most often heard on clarinet. His piano is upfront on Hoagy Carmichael’s “New Orleans.” He again keeps things simple—single notes runs, a few trills—and the tune’s moodiness is emphasized by the low notes of the trombone and baritone saxophone. By the end, though, Connick has the keys dancing.

While he might not take the spotlight often on piano, Connick looms large all over this album as bandleader, composer and arranger. It’s his intricate arrangement of “Panama” that frees the soloists—with a chorus of horns cascading around them—and brings new life to the chestnut. It’s his hand that moves the burning “That’s a Plenty” to another, very lively level.

Mixed among the familiar are three new Connick compositions. A favorite is the aforementioned “Luscious” with vocals by Lucien Barbarin. The blending of jazz, swing, and humor with a touch of R&B is somewhat reminiscent of Roy Brown’s style. “Ash Wednesday” creates a mood almost like a movie soundtrack rather than relying heavily on a strongly stated melody. Connick creates a slow and softly dreamy aura for the title cut that sways like Spanish moss on a summer night.

Chanson du Vieux Carre was recorded in May 2003, long before floodwaters devastated his hometown. Now more than ever, his tribute demonstrates the durability of New Orleans’ music and musicians. It looks back and brings the music forward swinging all the way. Harry Connick, Jr. has created his own big band sound, and it is the sound of New Orleans.