Considering that Jeffery Broussard’s last album, Return of the Creole, dropped 11 years ago, the gap between releases is unusual for an artist of his stature, given his pivotal role in zydeco. With the influential Zydeco Force, he was a leading light of the nouveau zydeco movement that modernized zydeco dancing in the ’90s. Then, in the mid-2000s, the accordionist did a full circle by returning to the older, traditional form he was weaned on in his father’s band Delton Broussard and the Lawtell Playboys. He also learned to play Creole fiddle, a genre rarity, and released two well-received albums.

Here, Broussard makes up for lost time with 18 jam-packed tracks produced and engineered by nephew Koray Broussard, who also found time to play bass and keyboards and sing backup vocals. It’s a composite sketch of Broussard’s complex musical personality that stretches from reprised Zydeco Force tunes to dance favorites to out-of-the-way covers (“Seychelles”) to hints of where Broussard is heading next. He wrote seven new originals, with the centerpiece title track being the most endearing. It’s a heartfelt profession of love to his wife Millie, contrasting his rough-hewn image (boots) to her graceful classiness (boujee). On “Tribute to Buckwheat,” Broussard tips his hat to the legend with an imagined melody resembling something Buck would have played.

Broussard also honors his father with the bluesy, slow-grooving “Baby Please Don’t Go,” a favorite of Delton’s and one Broussard played regularly as a young drummer with The Lawtell Playboys. Similarly, “T-Blue and Nonc Joe” featuring Broussard’s raw, blazing fiddling feels like something straight out of The Lawtell Playboys songbook.

Along the way, one can’t help surmise that Broussard can be a bit of a cut-up. “Fred G. Zydeco” leverages the recognizable riff from the ’70s TV sitcom Sanford and Son. “Roaches” (a Zydeco Force tune) is not for the faint of heart and is even funnier. Broussard comically sings ‘Here comes one/ here comes an ugly one/ they’re everywhere/ all in her weaved hair (wig)” and chants ‘They creepin’/ they’re crawlin’” as a dubbed-in background vocal.

Just as Broussard has always pushed the envelope, he does so again by mixing three gospel tunes into the otherwise unvarnished ambiance. “The Ballgame” is a rollicking romp offering hope and optimism. The majestic “I Give Myself Away” And “What God Does” finds Broussard delivering his most inspired singing that must have taken a ton of guts and courage to pull off. That alone makes Broussard a credible artist who stands up for his beliefs, regardless of the next trendy thing.