I was lucky enough to see this weighty ensemble in action on a rain-soaked outdoor stage at the French Quarter Festival in New Orleans some years ago. The leader and his musicians were superb that day. Now comes this further cheery homage to their native city, the ultimate party town.

Boyd-Cannon kicks off the good times with the title piece, a gospel-into-funk shout-up over typical street beats, the band riffing happily. Lewis, for long a Fats Domino sideman and erstwhile Dirty Dozen Brass Band member, honks into and through ‘Blackbird Beat’, the band jubilant and dramatic over the boogaloo rhythm, the energy frenetic, Marsalis soloing capably. ‘7th Avenue Boogaloo’ has a calmer groove and more decent band work, with pleasing tenor from Paulin, Marsalis in swingy mode. ‘Raid on the Mingus House’ builds much like the great man’s ‘Wednesday Night Prayer Meeting’, the trumpets shouting, the band figures powering in, Lee and Johnson battling, pianist Hanseler crisp with Pulphus pushing hard, Agid more serene. ‘Mboya’s Midnight Cocktail’ pictures a late-night bar-room encounter, Livers’ vocal relaxed and ingratiating, before Lewis takes us to ‘So New Orleans’, a city rap by trumpet man Miller. ‘Dr Hardgroove’ is a tribute to Roy Hargrove, bass lines bubbling, and gives Baham a run, trombones soaring, Lee again hot on alto.

Think of the album’s eleven pieces as a kind of compendium of contemporary Crescent City idioms, a gumbo of influences from across the funk, jazz and R&B spectra. From James Brown to Charles Mingus, you could say, via the Dirty Dozen. Great playing, plenty of Delfeayo’s strong trombone, energy to burn plus a range of good soloists. Assertive, jubilant, mesmeric, loud certainly, but invigorating, for sure.