Ray Landry’s latest is not as dancehall-centric as his last disc, 1999’s Ray Landry and the Basile Cajun Band, which featured the last recording sessions of beloved accordionist Nonc Allie Young. Instead, the focus here is on songs and showcasing various musician pals, 19 of which sang or played a combined total of 25 instruments. Though Landry sings lead or 

harmony on all tracks and plays some accordion and guitar, this is more of a statement emphasizing the importance of playing music socially and recognizing the talents around him to form a cohesive whole.

Helen Boudreaux wrote the disc’s most important track, the culturally sentimental title song that expresses Landry’s pride and devotion to his heritage. The woman dubbed “the Kitty Wells of Cajun Music” duets with Landry on six tracks and adds a verse to two songs (“La valse d’ennuie,” “La maison à deux portes”) to relay the often-overlooked female perspective. Amazingly, Boudreaux still retains her pristine soprano pipes after all these years. Landry was also gracious enough to share the accordion chair with Sheryl Cormier, who shines on “Big Texas Jam,” a super-sized adaptation of the Cajun staple “Grand Texas” and Hank Williams’ melody-borrowing “Jambalaya.” Though Landry can still bust out an exhilarating number like “La Pouissièrre’s Two Step,” maintaining a sense of community and cultural devotion overrides all.